Ear Training One Note Complete

Ear Training One Note Complete

Add physical copy to cart - $39.99 - ISBN: 1890944475

Ear Training One Note Complete is our most popular Ear Training Product

Bruce Arnold states that the idea of hearing sound based on a "key center" as opposed to an "interval" really began a revolution in the way musicians perceive sound. Most seasoned musicians hear this way naturally after years of playing but with Ear Training One Note a student can fast forward their learning so that they can experience 30 years of ear training in a fraction of the time.

A complete transformation of musical perception with this ear training concept.

You will see from reading the reviews at the bottom of this page that this system of ear training has changed many musicians' careers. Even students that are just beginning with music have found that it completely transforms the way they hear music.

Hearing within a key center

If you are just becoming aware of the this idea of "hearing within a key center" let's look at a little history of ear training for musicians. The "Interval" method of Ear Training has been taught in music schools for literally hundreds of years and rarely been questioned. This method is based on hearing the distance between each note with no regard to a key center. The problem with this approach is pretty simple. If you are just strictly just using intervals for ear training you will develop a host of problems.

A detailed discussion

There is a detailed discussion of "interval" vs. "key center" ear training in the book that accompanies all our entry level ear training books. Make sure to read this and our FAQs to understand all different aspects of ear training.

The essence of this "key center" method.

By learning the sound of all 12 notes within a "key center" you develop a completely different way of approaching ear training. With the "key center" method if you hear an "E" played in the key of C, you are not thinking that the note is four half steps above the root or in some interval relationship to any other note --your are recognizing the sound of a 3rd because you have memorized that sound within a "key center."

Ear Training One Note Series teaches you the "Key Center" process.

Bruce Arnold advises that working with the audio files in the Ear Training One Note Series over time, you gain the ability to recognize the sound of all 12 notes with a "key center." For some students this will be a quick and painless rebooting of the way they hear sound; for others it can be a frustrating path with many possible pitfalls.

Ear Training is a two pronged process.

You need to work on identifying sound as you hear it from an external source as well as the sounds you hear in your head when you are improvising or composing. With this in mind we have created a whole series of books that develop these two aspects of ear training. They basically boil down to listening exercises and singing exercises.

Listening and Singing exercises.

Listening exercises teach you to identify the sounds from external sources such as another band member or a song that you are hearing on your MP3 player. Singing exercises help you identify the sounds you hear inside you when you are singing, improvising or composing. You need both sides of ear training to become a great musician. The good news is they complement each other so the more you work on one, the more it will the help the other.

The different Ear Training One Note books that are available.

Because musicians are coming to this ear training with so many diverse backgrounds and abilities over the years we have created a lot of different books to help them get the method that is most beneficial given their current ability. If you would prefer to buy the Ear Training One Note Method divided by level: Beginning, Intermediate and Advance please visit our Other Ear Training One Note Products. You will also find super advanced one note levels and One Note with "Degree" answers on the Other Ear Training One Note Products Page

Of course this can't be a perfect system because frequently a student isn't even aware of their own strengths and weaknesses. But we have done our best to give all students books and audio files that will help them target their problems without wasting time and money.

Our most common recommendation.

Because "key center" based ear training can be a completely new idea to even advanced musicians, we always feel that the best idea is to start from the beginning so that no crucial details or concepts are overlooked. The most common problem we have is from musicians who "think" they have more advanced ear training skills than they actually have, or think that knowing about ear training is the same as having the ability to simply hear.

It has also been common for students to start at one level and realize they need to go to a higher or lower level. Based on these years of experience we have tried to create a path through our ear training method that takes all of this into consideration.

Before we get started...

Let's first talk about how you will be doing this ear training. We have found that the best way to do this ear training is with an MP3 player. It allows for many more ways to organize the audio files and is very portable. We do offer physical books and CDs with with some of our ear training products but we HIGHLY recommend you not take this path with our ear training method. Digital downloads are a much better way to study this ear training because MP3s are much less expensive, easier to organize and cost half as much as physical books with CDs. Because they are more portable you can take them just about anywhere, giving you that much more access to practice time. We also have many ear training products that are ONLY available as digital downloads so it just makes more sense to go the digital route. So unless you REALLY only can use a CD player we sincerely recommend that you buy digital downloads of our ear training products.

Listening and Singing: the two crucial aspects of Ear Training.

We usually recommend a listening and a singing book to begin you Ear Training studies. These two books are Ear Training One Note Complete and Contextual Ear Training

We recommend Ear Training One Note Complete because it contain three levels of exercises: Beginning, Intermediate and Advanced. This ensures that you can find the appropriate level to start on without having to re-purchase another book if the one you bought is too easy or too hard. Please keep in mind that you may be an advanced musician but have severe ear training problems or a beginning student with excellent aural skills. This is why we recommend the Complete version. You move from one level to another as you get 80% correct answers. All three levels give you the same exercises. Each level doubles the speed of the exercise thereby making it twice as difficult.

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Bruce Arnold is here to help you through the process.

Some students can fly through this ear training with no problem. But many musicians need some help. Knowing this, Mr. Arnold offers email support for students as they work through this process. So rest assured as you enter this ear training method that you are not alone, and you can get expert help if you run into problems.

Helping musician for almost two decades!

This method has been helping musicians for almost 20 years now. It's one of the best selling methods Ear Training systems on the market. Simply put: It is successful because it works! BUT the secret weapon is Bruce Arnold. He is only an email way to help you. If you are a beginning or an advanced student seeking to perfect your skills, you can call on Bruce to help you through this process.

The FAQs

Over the years we have developed a FAQs resource containing thousands of questions that students have asked over the years. These FAQs are searchable by key word and we recommend that you read these FAQs because they will give you:

  • A more complete understanding of the method.
  • An insight into the problems and solutions others have had with this ear training.
  • Encouragement and determination that you can do this, and that it just takes daily dedication.
  • The proof that EVERYONE that has really put their mind to it has mastered this ear training without exception.
  • The reason why dedicating a short amount of time each day: 5 to 10 minutes 5 to 10 times a day will be all it takes to master this ear training.

Bruce Arnold's Blog

Mr. Arnold's Blog on ear training and other musical topics can be very useful to learn about our ear training products.

Some of the topics covers are linked below.

Helpful Links to other products:

Our ear training books are available worldwide at different on-line stores. It is important to realize that there are physical versions of our books available that don't include the CDs. The book will plainly state in the description that it doesn't include a CD(s). In those cases you can either purchase a CD from Muse-eek.com or digitally download it from our website or itunes. If you have lost a CD or it's become damaged you can also order or download replacements.

Please find links to other ear training products associated with the "One Note Series" below:

Contextual Ear Training

Contextual Ear Training

Contextual Ear Training is one of our most popular Ear Training Singing Books.

IIf you are just getting started with the Bruce Arnold System of Ear Training, then Contextual Ear Training is an indispensable companion course that we cannot recommend highly enough. The exercises found in this course are similar to the 1st assignment in the Fanatic's Guide to Ear Training and Sight Singing. The main difference is you can do the exercises found in Contextual Ear Training anywhere that you can listen to an MP3 player, which is just about anywhere, whereas the exercises in the Fanatic's Guide require you have your instrument on hand to check your answer. There are two versions of the Contextual Ear Training: The version found on this page uses a piano to play the key center and also to give the answer. Contextual Ear Training Voice Edition uses voices to form the key center and gives you the answer with either a Tenor, Alto or Soprano sung voice. For many students who struggle with ear training, the Voice Edition can be easier, particularly if you choose an edition that is close to your own vocal range, so keep that in mind.

The idea of singing sound based on a "key center" as opposed to an singing an "interval" really began a revolution in the way musicians perceive sound. When a seasoned musician sings a melody they are not thinking the distance between each note they are hearing that they are singing as pitches within a "key center." Seasoned musicians sing this way naturally after years of playing and singing but with Contextual Ear Training a student can fast forward their learning so that they can experience 30 years of ear training experience in a fraction of the time.

A complete transformation of musical perception with this ear training concept.

You will see from reading the reviews that this system of ear training has changed many musicians' careers. Even students that are just beginning with music have found that it completely transforms the way they hear and sing music.

If you are just becoming aware of the this idea of "hearing within a key center" let's look at a little history of ear training for musicians

The "Interval" method of Ear Training has been taught in music schools for literally hundreds of years and rarely been questioned. This method is based on singing the distance between each note with no regard to a key center. The problem with this approach is pretty simple. It just doesn't work when you are trying to sing a melody. Some of the most common problems with singing by interval is:

  • You can sing an interval but are totally lost when you try to apply it to real music.
  • You have a tendency to sing sharp or flat
  • Not being able to find the first note of melody when you start singing a song.
  • You try to think the distance between each note as you try to sing or listen and get lost.
  • Inability to maintain your own part when singing with in groups or choirs

If you are experiencing any of these problems then you need to get Contextual Ear Training and start working towards hear music based by "key center."

Why doesn't interval training work?

If you are trying to sing each note as it flows by in music, there is no way that you can calculate the distance between each note even at a very slow tempo much less the usual speed that notes flow by in real time. The only way to instantly know what notes are being played is to ingrain in your mind the sound of each note within a key center so that you know the sounds you are singing in the same way that you see the color blue and know it's blue.

Our minds can't process interval relationships at the speed needed to sing notes accurately.

You can sit in a classroom and do sing a Major 6th when a teacher ask you to but if you are trying to do this in time as you are singing real music the problem gets worse and worse the more complicated the music becomes. In the real world, when music is being played in real time, as a musician, your mind just cannot calculate the intervals and analyze what you need to know in order to react properly right away. This isn't about intellectual ability, it's about the reality of TIME. So how do musician identify the sounds they are singing instantaneously?

Key Center is the "KEY"

Here's how they do it: They use the "key center" of a song and internalize the sound of all 12 notes within that key center. Quite simply when they sing the 3rd they are not thinking that the note is four half steps above the root or in relation to any other note --they are recognizing the sound of a 3rd because they have memorized that sound within a "key center."

Contextual Ear Training teaches you the "Key Center" process.

By working with the audio files in the Contextual Ear Training over time, you gain the ability to sing the sound of all 12 notes with a "key center." For some students this will be a quick and painless rebooting of the way they hear sound; for others it can be a frustrating path with many possible pitfalls.

Ear Training is a two pronged process. You need to work on singing notes and internalize what they sound like in a "key center" but you also need to identifying sound as you hear them from an external source.

With this in mind we have created a whole series of books that develop these two aspects of ear training. They basically boil down to listening exercises and singing exercises. For someone just starting our method we recommend: Contextual Ear Training and Ear Training One Note Complete. or Ear Training One Note Vocal Version

Contextual Ear Training and Ear Training One Note Complete together make a great ear training program.

Listening exercises found in Ear Training One Note Complete teach you to identify the sounds from external sources such as another band member or a song that you are hearing on your MP3 player. Singing exercises found in Contextual Ear Training help you identify the sounds you hear inside you when you are singing, improvising or composing. You need both sides of ear training to become a great musician. The good news is they complement each other so the more you work on one, the more it will the help the other.

Bruce Arnold is here to help you through the process.

Some students can fly through this ear training with no problem. But many musicians have problems and need personal help. Luckily Mr. Arnold offers email support for students as they work through this process. So rest assured as you enter this ear training method that you are not alone, and you can get expert help if you run into problems.

Helping musician for almost two decades!

This method has been helping musicians for almost 20 years now. It's one of the best selling methods Ear Training systems on the market. Simply put: It is successful because it works! BUT the secret weapon is Bruce Arnold. He is only an email way to help you. If you are a beginning or an advanced student seeking to perfect their skills, you can call on Bruce to help you through this process.

The FAQs

Over the years we have developed a FAQ resource containing thousands of questions that students have asked over the years. It is recommended that you read these FAQs because they will give you:

  • A more complete understanding of the method.
  • An insight into the problems and solutions others have had with this ear training.
  • Encouragement and hope that you can do this, and that it just takes daily dedication.
  • The knowledge that EVERYONE that has really put their mind to it has mastered this ear training without exception.
  • The knowledge that dedicating a short amount of time each day: 5 to 10 minutes 5 to 10 times a day will be all it takes to master this ear training.

Where should you start?

First let's talk about how you will be doing this ear training. We have found that the best way to do this ear training is with an MP3 player. It allows for many more ways to organize the audio files and is very portable. We do offer physical books and CDs with with some of our ear training products but we HIGHLY recommend you not take this path with our ear training method. Digital downloads is a much better way to study this ear training because MP3s are much less expensive, easier to organize and cost half as much as physical books with CDs. We also have many ear training products that are ONLY available as digital downloads so it just makes more sense to go the digital route. So unless you REALLY only can use a CD player we sincerely recommend that you buy digital downloads of our ear training products.

For singing we most commonly recommend students start with Contextual Ear Training.

We do recommend along with Contextual Ear Training. that you also work with Ear Training One Note Complete.

Buy Contextual Ear Training and then contact Mr. Arnold with a detailed explanation of your level and goals.

Ear Training is very specialized to a students goals and abilities. It makes a lot more sense to use the contact information at the bottom of this page to contact Bruce after you have purchased these books to see what other products you might consider and how to organize your practice.

The Fanatic's Guide to Ear Training and Sight Singing and Contextual Ear Training differences.

Contextual Ear Training and The Fanatic's Guide to Ear Training and Sight Singing are two closely related books. The 1st exercise and arguably the most important exercise for a beginning is the The Fanatic's Guide to Ear Training and Sight Singing is the "One Note" exercise. This "One Note" exercise develops the ability to instantly sing any of the 12 pitches over a "key center." Fanatic's Guide to Ear Training and Sight Singing requires you to work with a CD and check answers with an instrument to do this exercise. Contextual Ear Training allows you to do this exercise anywhere because the answer is supplied in the audio files. Therefore you will improve quicker if you use the Contextual Ear Training "One Note" exercise because you can do it anywhere that you can use an MP3 player.

Which book should I get or should I get both?

We do occasional recommend both Contextual Ear Training and The Fanatic's Guide to Ear Training and Sight Singing to students that are working in a choir or other places where they are reading music. Contextual Ear Training you are not singing notes from a page. It will help you to sing notes from a page once you gain the ability to hear all 12 notes of a "key center." but it isn't building your sight reading skills. The Fanatic's Guide to Ear Training and Sight Singing does work with many exercises where you are singing notes from a musical staff. So if you are a singer where you need to work on both aspects of your musicianship we recommend both books.

Where do I go after I finish Contextual Ear Training?

Once you are getting 80% correct answers with the Contextual Ear Training Book we recommend you move on to The Fanatic's Guide to Ear Training and Sight Singing. This book will offer you many other exercises to apply your skills

The FAQs

Over the years we have developed a FAQs resource containing thousands of questions that students have asked over the years. These FAQs are searchable by key word and we recommend that you read these FAQs because they will give you:

 

  • A more complete understanding of the method.

 

 

  • An insight into the problems and solutions others have had with this ear training.

 

 

  • Encouragement and determination that you can do this, and that it just takes daily dedication.

 

 

  • The proof that EVERYONE that has really put their mind to it has mastered this ear training without exception.

 

 

  • The reason why dedicating a short amount of time each day: 5 to 10 minutes 5 to 10 times a day will be all it takes to master this ear training.

 

Bruce Arnold's Blog

Mr. Arnold's Blog on ear training and other musical topics can be very useful to learn about our ear training products.

Some of the topics covers are linked below.

Helpful Links to other products:

Our ear training books are available worldwide at different on-line stores. It is important to realize that there are physical versions of our books available that don't include the CDs. The book will plainly state in the description that it doesn't include a CD(s). In those cases you can either purchase a CD from Muse-eek.com or digitally download it from our website or itunes. If you have lost a CD or it's become damaged you can also order or download replacements.

Please find links to other ear training products associated with the "One Note Series" below:

Contextual Ear Training Voice Edition

Contextual Ear Training Voice Edition by Bruce Arnold

Contextual Ear Training Voice Edition

Contextual Ear Training is one of 1st Books to use When Starting Bruce Arnold's Ear Training Method.

This is an exciting new addition to the Contextual Ear Training course: The Voice Edition found on this page uses voices to form the key center and gives you the answer with either a Tenor, Alto or Soprano sung voice. For many students who struggle with ear training, the Voice Edition is a lot easier, especially if you pick an edition that is similar to your own vocal range. If you are just getting started with the Bruce Arnold System of Ear Training and want to see improvement at a faster rate, then this is one of the must-own courses. In general men should choose Tenor and possibly Alto, and women either Alto or Soprano.

Please keep in mind that Bruce Arnold recommends that you work with two levels, so it is much more cost effective to order the Complete Voice Edition. For instance, if you are a male it is recommended that you do both the Tenor and Alto Versions. If you are a female do both the Alto and Soprano versions.

The exercises found in this course are similar to the 1st assignment in the Fanatic's Guide to Ear Training and Sight Singing. The main difference is you can do the exercises found in Contextual Ear Training anywhere that you can listen to an MP3 player, which is just about anywhere, whereas the exercises in the Fanatic's Guide require you have your instrument on hand to check your answer.

If you would rather use a piano sound, then the other version of Contextual Ear Training is recommended

Soprano, Alto and Tenor Versions. Each version tests you at 3 different speeds.

There are 864 MP3s for the Soprano, Alto and Tenor Courses. This includes all degrees in both major and minor keys at 3 different speeds. As previously stated it is recommended that you work with two voices before moving on to the next level in this ear training method. Each level is available separately but it is more cost effective to order the Complete Voice Edition. Make sure to check out the Level 3 example for the Tenor Voice. Having extremely fast ability with this method is VERY important if you want to realize your full potential. The faster you are will also effect your sight singing ability when actually reading real music.

Contextual Ear Training Voice Edition Soprano

Contextual Ear Training Voice Edition

Below is an example track from the Soprano Edition of this series. This Level One track plays you a F Major cadence then asks you to sing a Flat 3.

Below is an example track from the Soprano Edition of this series. This Level Two track plays you a C Minor cadence then asks you to sing a Flat 5.

Below is an example track from the Soprano Edition of this series. This Level Three track plays you a B Major cadence then asks you to sing a Flat 2.

Contextual Ear Training Voice Edition Alto

Contextual Ear Training Voice Edition Alto

Below is an example track from the Alto Edition of this series. This Level One track plays you a A Major cadence then asks you to sing the Fifth.

Below is an example track from the Alto Edition of this series. This Level Two track plays you an C# Minor cadence then asks you to sing a the 6th.

Below is an example track from the Alto Edition of this series. This Level Three track plays you an D# Minor cadence then asks you to sing a minor 3rd.

Contextual Ear Training Voice Edition Tenor

Contextual Ear Training Voice Edition Tenor

Below is an example track from the Tenor Edition of this series. This Level One track plays you a B Major cadence then asks you to sing the Flat 5.

Below is an example track from the Tenor Edition of this series. This Level Two track plays you a F Major cadence then asks you to sing the Flat 6th.

Below is an example track from the Tenor Edition of this series. This Level Three track plays you a A# Minor cadence then asks you to sing the Second.

Background Information

The idea of singing sound based on a "key center" as opposed to an singing an "interval" really began a revolution in the way musicians perceive sound. When a seasoned musician sings a melody they are not thinking the distance between each note they are hearing that they are singing as pitches within a "key center." Seasoned musicians sing this way naturally after years of playing and singing but with Contextual Ear Training a student can fast forward their learning so that they can experience 30 years of ear training experience in a fraction of the time.

A complete transformation of musical perception with this ear training concept.

You will see from reading the reviews that this system of ear training has changed many musicians' careers. Even students that are just beginning with music have found that it completely transforms the way they hear and sing music.

"Hearing Within a Key Center." Let's Take a Closer Look

The "Interval" method of Ear Training has been taught in music schools for literally hundreds of years and rarely been questioned. This method is based on singing the distance between each note with no regard to a key center. The problem with this approach is pretty simple. It just doesn't work when you are trying to sing a melody. Some of the most common problems with singing by interval is:

  • You can sing an interval but are totally lost when you try to apply it to real music.
  • You have a tendency to sing sharp or flat
  • Not being able to find the first note of melody when you start singing a song.
  • You try to think the distance between each note as you try to sing or listen and get lost.
  • Inability to maintain your own part when singing with in groups or choirs

If you are experiencing any of these problems then you need to get Contextual Ear Training and start working towards hear music based by "key center."

Why doesn't interval training work?

If you are trying to sing each note as it flows by in music, there is no way that you can calculate the distance between each note even at a very slow tempo much less the usual speed that notes flow by in real time. The only way to instantly know what notes are being played is to engrain in your mind the sound of each note within a key center so that you know the sounds you are singing in the same way that you see the color blue and know it's blue.

Our minds can't process interval relationships at the speed needed to sing notes accurately.

You can sit in a classroom and do sing a Major 6th when a teacher ask you to but if you are trying to do this in time as you are singing real music the problem gets worse and worse the more complicated the music becomes. In the real world, when music is being played in real time, as a musician, your mind just cannot calculate the intervals and analyze what you need to know in order to react properly right away. This isn't about intellectual ability, it's about the reality of TIME. So how do musician identify the sounds they are singing instantaneously?

Key Center is the "KEY"

Here's how they do it: They use the "key center" of a song and internalize the sound of all 12 notes within that key center. Quite simply when they sing the 3rd they are not thinking that the note is four half steps above the root or in relation to any other note --they are recognizing the sound of a 3rd because they have memorized that sound within a "key center."

Contextual Ear Training teaches you the "Key Center" process.

By working with the audio files in the Contextual Ear Training over time, you gain the ability to sing the sound of all 12 notes with a "key center." For some students this will be a quick and painless rebooting of the way they hear sound; for others it can be a frustrating path with many possible pitfalls.

Ear Training is a two pronged process. You need to work on singing notes and internalize what they sound like in a "key center" but you also need to identifying sound as you hear them from an external source.

With this in mind we have created a whole series of books that develop these two aspects of ear training. They basically boil down to listening exercises and singing exercises. For someone just starting our method we recommend: Contextual Ear Training and Ear Training One Note Complete. or Ear Training One Note Vocal Version

Contextual Ear Training and Ear Training One Note Complete together make a great ear training program.

Listening exercises found in Ear Training One Note Complete teach you to identify the sounds from external sources such as another band member or a song that you are hearing on your MP3 player. Singing exercises found in Contextual Ear Training help you identify the sounds you hear inside you when you are singing, improvising or composing. You need both sides of ear training to become a great musician. The good news is they complement each other so the more you work on one, the more it will the help the other.

Bruce Arnold is here to help you through the process.

Some students can fly through this ear training with no problem. But many musicians have problems and need personal help. Luckily Mr. Arnold offers email support for students as they work through this process. So rest assured as you enter this ear training method that you are not alone, and you can get expert help if you run into problems.

Helping musician for almost two decades!

This method has been helping musicians for almost 20 years now. It's one of the best selling methods Ear Training systems on the market. Simply put: It is successful because it works! BUT the secret weapon is Bruce Arnold. He is only an email way to help you. If you are a beginning or an advanced student seeking to perfect their skills, you can call on Bruce to help you through this process.

The FAQs

Over the years we have developed a FAQ resource containing thousands of questions that students have asked over the years. It is recommended that you read these FAQs because they will give you:

  • A more complete understanding of the method.
  • An insight into the problems and solutions others have had with this ear training.
  • Encouragement and hope that you can do this, and that it just takes daily dedication.
  • The knowledge that EVERYONE that has really put their mind to it has mastered this ear training without exception.
  • The knowledge that dedicating a short amount of time each day: 5 to 10 minutes 5 to 10 times a day will be all it takes to master this ear training.

Where should you start?

First let's talk about how you will be doing this ear training. We have found that the best way to do this ear training is with an MP3 player. It allows for many more ways to organize the audio files and is very portable. We do offer physical books and CDs with with some of our ear training products but we HIGHLY recommend you not take this path with our ear training method. Digital downloads is a much better way to study this ear training because MP3s are much less expensive, easier to organize and cost half as much as physical books with CDs. We also have many ear training products that are ONLY available as digital downloads so it just makes more sense to go the digital route. So unless you REALLY only can use a CD player we sincerely recommend that you buy digital downloads of our ear training products.

For singing we most commonly recommend students start with Contextual Ear Training.

We do recommend along with Contextual Ear Training. that you also work with Ear Training One Note Complete.

Contextual Ear Training Voice Edition

Buy Contextual Ear Training and then contact Bruce Arnold with a detailed explanation of your level and goals.

Ear Training is very specialized to a students goals and abilities. It makes a lot more sense to use the contact information at the bottom of this page to contact Bruce after you have purchased these books to see what other products you might consider and how to organize your practice.

The Fanatic's Guide to Ear Training and Sight Singing and Contextual Ear Training differences.

Contextual Ear Training and The Fanatic's Guide to Ear Training and Sight Singing are two closely related books. The 1st exercise and arguably the most important exercise for a beginning is the The Fanatic's Guide to Ear Training and Sight Singing is the "One Note" exercise. This "One Note" exercise develops the ability to instantly sing any of the 12 pitches over a "key center." Fanatic's Guide to Ear Training and Sight Singing requires you to work with a CD and check answers with an instrument to do this exercise. Contextual Ear Training allows you to do this exercise anywhere because the answer is supplied in the audio files. Therefore you will improve quicker if you use the Contextual Ear Training "One Note" exercise because you can do it anywhere that you can use an MP3 player.

Which book should I get or should I get both?

We do occasional recommend both Contextual Ear Training and The Fanatic's Guide to Ear Training and Sight Singing to students that are working in a choir or other places where they are reading music. Contextual Ear Training you are not singing notes from a page. It will help you to sing notes from a page once you gain the ability to hear all 12 notes of a "key center." but it isn't building your sight reading skills. The Fanatic's Guide to Ear Training and Sight Singing does work with many exercises where you are singing notes from a musical staff. So if you are a singer where you need to work on both aspects of your musicianship we recommend both books.

Where do I go after I finish Contextual Ear Training?

Once you are getting 80% correct answers with the Contextual Ear Training Book we recommend you move on to The Fanatic's Guide to Ear Training and Sight Singing. This book will offer you many other exercises to apply your skills

The FAQs

Over the years we have developed a FAQs resource containing thousands of questions that students have asked over the years. These FAQs are searchable by key word and we recommend that you read these FAQs because they will give you:

 

  • A more complete understanding of the method.

 

 

  • An insight into the problems and solutions others have had with this ear training.

 

 

  • Encouragement and determination that you can do this, and that it just takes daily dedication.

 

 

  • The proof that EVERYONE that has really put their mind to it has mastered this ear training without exception.

 

 

  • The reason why dedicating a short amount of time each day: 5 to 10 minutes 5 to 10 times a day will be all it takes to master this ear training.

 

Bruce Arnold's Blog

Mr. Arnold's Blog on ear training and other musical topics can be very useful to learn about our ear training products.

Some of the topics covers are linked below.

Helpful Links to other products:

Our ear training books are available worldwide at different on-line stores. It is important to realize that there are physical versions of our books available that don't include the CDs. The book will plainly state in the description that it doesn't include a CD(s). In those cases you can either purchase a CD from Muse-eek.com or digitally download it from our website or itunes. If you have lost a CD or it's become damaged you can also order or download replacements.

Please find links to other ear training products associated with the "One Note Series" below:

Fanatic's Guide to Ear Training and Sight Singing

Fanatic's Guide to Ear Training and Sight Singing

 

Fanatic's Guide to Ear Training and Sight Singing our best selling singing method.

The idea of singing sound based on a "key center" as opposed to singing an "interval" really began a revolution in the way musicians perceive sound. When a seasoned musician sings a melody, they are not thinking the distance between each note they are hearing, they are singing pitches within a "key center." Seasoned musicians sing this way naturally after years of playing and singing but with Fanatic's Guide to Ear Training and Sight Singing a student can fast forward their learning so that they can experience 30 years of ear training in a fraction of the time.

A complete transformation of musical perception with this ear training concept.

You will see from reading the reviews that this system of ear training has changed many musicians' careers. Even students that are just beginning with music have found that it completely transforms the way they hear and sing music.

If you are only now acquainting yourself with this idea of "hearing within a key center" let's look at a little history of ear training for musicians

The "Interval" method of Ear Training has been taught in music schools for literally hundreds of years and rarely been questioned. This method is based on singing the distance between each note with no regard to a key center. The problem with this approach is pretty simple. It just doesn't work when you are trying to sing a melody. Some of the most common problems with singing by interval are:

  • A tendency to sing sharp or flat
  • Not being able to find the first note of the melody when you start singing a song.
  • Inability to maintain your own part when singing within groups or choirs

If you are experiencing any of these problems then you need to get Fanatic's Guide to Ear Training and Sight Singing and start working towards hearing music based by "key center."

Why doesn't interval training work?

If you are trying to sing each note as it flows by in music, there is no way that you can calculate the distance between each note even at a slow tempo much less the usual speed that notes flow by in real time. The only way to instantly know what notes are being played is to ingrain in your mind the sound of each note within a key center so that you know the sounds you are singing in the same way that you see the color blue and know it's blue.

Our minds can't process interval relationships at the speed needed to sing notes accurately.

Maybe you have no problem in the classroom when the teacher plays a note and asks you to sing a Major 6th above it, but if you are trying to do this in time as you are actually singing a piece of real music, it becomes problematic, and the problem is compounded the more complicated the music becomes. In the real world, when music is being played in real time, as a musician, your mind just cannot calculate the intervals and analyze what you need to know in order to react properly right away. This isn't about intellectual ability, it's about the reality of TIME. So how do musicians identify the sounds they are singing instantaneously?

Key Center is the "KEY"

Here's how they do it: They use the "key center" of a song and internalize the sound of all 12 notes within that key center. Quite simply when they sing the 3rd they are not thinking that the note is four half steps above the root or in relation to any other note --they are recognizing the sound of a 3rd because they have memorized that sound within a "key center."

Fanatic's Guide to Ear Training and Sight Singing teaches you the "Key Center" process

In most cases we recommend you first work with Contextual Ear Training before moving on to Fanatic's Guide to Ear Training and Sight Singing .

By working with the audio files in the Contextual Ear Training over time, you gain the ability to sing the sound of all 12 notes within a "key center." For some students this will be a quick and painless rebooting of the way they hear sound; for others it can be a frustrating path with many possible pitfalls.

You have multiple singing method books. Which should I use first?

Fanatic's Guide to Ear Training and Sight Singing and Contextual Ear Training differences.

Contextual Ear Training and Fanatic's Guide to Ear Training and Sight Singing are two closely related books. The first and probably most important exercise for a beginner in the Fanatic's Guide to Ear Training and Sight Singing is the "One Note" exercise. This "One Note" exercise develops the ability to instantly sing any of the 12 pitches over a "key center." Fanatic's Guide to Ear Training and Sight Singing requires you to work with a CD and check answers with an instrument to do this exercise. Contextual Ear Training allows you to do this exercise anywhere because the answer is supplied within the audio files, and it is much more portable. Therefore you will improve more quickly if you use the Contextual Ear Training "One Note" exercise because you can do it anywhere that you can take an MP3 player.

Which book should I get or should I get both?

We do occasionally recommend both Contextual Ear Training and Fanatic's Guide to Ear Training and Sight Singing to students that are working in a choir or other places where they are reading music. With Contextual Ear Training you are not singing notes from a page. It will help you to sing notes from a page once you gain the ability to hear all 12 notes of a "key center," but it does not build your sight reading skills. Fanatic's Guide to Ear Training and Sight Singing does contain many exercises that require you to sing notes from a musical staff. So if you are a singer who needs to work on both aspects of your musicianship we recommend both books.

Practicing Ear Training from two different perspectives is the best way to improve.

With this in mind we have created a whole series of books that develop these two aspects of ear training. They basically boil down to listening exercises and singing exercises. For someone just starting our method we recommend: Contextual Ear Training and Ear Training One Note Complete.

Fanatic's Guide to Ear Training and Sight Singing and Ear Training One Note Complete together make a great ear training program.

Listening exercises found in Ear Training One Note Complete teach you to identify the sounds from external sources such as another band member or a song that you are hearing on your MP3 player. Singing exercises found in Fanatic's Guide to Ear Training and Sight Singing help you identify the sounds you hear inside you when you are singing, improvising or composing. You need both sides of ear training to become a great musician. The good news is they complement each other so the more you work on one, the more it will the help the other.

Bruce Arnold is here to help you through the process.

Some students can fly through this ear training with no problem. But many musicians have problems and need personal help. But have no fear, Mr. Arnold offers email support for students as they work through this process! So rest assured as you enter this ear training method, that you are not alone, and you can get expert help if you run into problems.

Helping musician for almost two decades!

This method has been transforming musicians for almost 20 years now. It's one of the best selling Ear Training systems on the market. Simply put: It is successful because it works! BUT the secret weapon is Bruce Arnold. He is only an email away to help you. If you are a beginning or an advanced student seeking to perfect your skills, you can call on Bruce to help you through this process.

Where should you start?

First let's talk about how you will be doing this ear training. We have found that the best way to do this ear training is with an MP3 player. It allows for many more ways to organize the audio files and is most portable. We do offer physical books and CDs with with some of our ear training products but we HIGHLY recommend you not take this path with our ear training method. Why? Because digital downloads are a much better way to study this ear training as MP3s are much less expensive, easier to organize, more easily portable and cost half as much as physical books with CDs. We also have many ear training products that are ONLY available as digital downloads so it just makes more sense to go the digital route. So unless you REALLY can only use a CD player we sincerely recommend that you buy digital downloads of our ear training products.

Recommended order of books.

For singing we most commonly recommend students start with Contextual Ear Training. and then move on to Fanatic's Guide to Ear Training and Sight Singing . Also with Fanatic's Guide to Sight Singing and Ear Training...we recommend you work with Ear Training One Note Complete.

Where do I go after I finish Fanatic's Guide to Ear Training and Sight Singing ?

Once you have worked through the exercises in Fanatic's Guide to Ear Training and Sight Singing we recommend you move on to Key Retention Builder.

The FAQs

Over the years we have developed a FAQs resource containing thousands of questions that students have asked over the years. These FAQs are searchable by key word and we recommend that you read these FAQs because they will give you:

  • A more complete understanding of the method.
  • An insight into the problems and solutions others have had with this ear training.
  • Encouragement and determination that you can do this, and that it just takes daily dedication.
  • The proof that EVERYONE that has really put their mind to it has mastered this ear training without exception.
  • The reason why dedicating a short amount of time each day: 5 to 10 minutes 5 to 10 times a day will be all it takes to master this ear training.

Bruce Arnold's Blog

Mr. Arnold's Blog on ear training and other musical topics can be very useful to learn about our ear training products.

Some of the topics covers are linked below.

Helpful Links to other products:

Our ear training books are available worldwide at different on-line stores. It is important to realize that there are physical versions of our books available that don't include the CDs. The book will plainly state in the description that it doesn't include a CD(s). In those cases you can either purchase a CD from Muse-eek.com or digitally download it from our website or itunes. If you have lost a CD or it's become damaged you can also order or download replacements.

Please find links to other ear training products associated with the "One Note Series" below:

Get Fanatic's Guide to Ear Training and Sight Singing today and transform your sense of key.

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MetroDrone: All purpose practice tool

MetroDrone: Groundbreaking New Addition to Ear Training and Instrumental Practice

Add digital copy to cart - $24.99 with Acoustic Bass
Add digital copy to cart - $24.99 with Tuba

MetroDrone is a core addition to Ear Training and Instrumental Practice now available with an acoustic bass or tuba sound!

MetroDrone is our best selling product of all time!!

We are super-excited about this new invention which Bruce Arnold calls the "MetroDrone. It will greatly enhance both your practice time, and the rate at which your playing and musicianship improves.

Bruce Arnold states that the MetroDrone is a CORE practice tool!

MetroDrone should be a new addition to the CORE products you use to reach your full potential as a musician...

Two versions of the MetroDrone

Difference between Acoustic Bass and Tuba MetroDrone

  • Acoustic Bass MetroDrone Sound is much longer in duration than the Tuba MetroDrone making it easier to hear the key center. 10 to 60bpm MP3 files
  • Tuba MetroDrone Sound is much shorter in duration than the Acoustic Bass MetroDrone making it much harder to hear the key center and therefore is recommended for the advanced ear training student. Also has slower MP3 files 8 to 60bpm MP3 files

MetroDrone lets you:

  • Practice singing exercises in time and speed them up, to master real-time ear-training recognition and execution.
  • Practice ear training even when you are practicing scales or any other technique on your instrument.
  • Develop lightning speed by using the included "long line rhythm" concept (considered a “holy grail” by many guitarists). Video and PDF included.

MetroDrone works any place you use a metronome and with many ear training exercises

MetroDrone will work with any Muse-Eek book you own -or one from any other company. But to most effectively use this new tool – it would be best for Mr. Arnold to understand how you currently practice your instrument, and ear training.

Unsure if MetroDrone is right for you?

Unsure how to use it or if it's right for you? – Use the contact email at bottom of the page and Mr. Arnold will personally review your current practice schedule – and advise you on possible improvements, and how to integrate MetroDrone into your practice time for maximum results.

Keep on track, Keep in contact!

As always it is what you are practicing and how you are practicing that is crucial to your progress. Please keep in touch with Mr. Arnold every few months so that you don't practice the wrong thing or the right thing in the wrong way. Bruce may also may be able to make recommendations on how you should change some aspect of your study so that you improve even faster.

Check in and get on track

So right now, it's time to check in and get your practice regimen ship-shape. Even if you been sluffing off – you can still write to Bruce and we'll see how to get you back in the saddle and improving your musical ability.

Ideas for using MetroDrone

Bruce Arnold says that hearing chord progressions is a topic that comes up frequently with students of ear training. You will probably have to gain some basic skills with identifying pitches within a key center before you can tackle how you hear chord progressions but there are some things you can do with the MetroDrone MP3s to start preparing now for this exciting aspect of ear training.

Think the same way you hear

The overall thing to realize is always THINK THE SAME WAY YOU HEAR. What do I mean by this? I mean that you can listen to a chord progression in a song, and if you sing or play the melody, you will probably HEAR some or all of it in the key of the song. But when you play or sing over a chord progression, it is easy to start thinking about all the different scales you could play, and lose sight of the key center.

So that is why it is important to think the same way that you hear. This will make your playing much more musical and you will truly express the music you hear inside yourself. The main purpose of the MetroDrone is to get you always thinking the same way you are hearing. If you practice a C scale with a C MetroDrone going on in the background you are thinking about a C scale and you are hearing it in relationship to the key of C. This gets progressively more important as you work with more and more complicated material.

Now let's turn our attention to how THINKING THE SAME WAY YOU HEAR applies to a chord progression. If we have a chord progression you will either hear the whole progression in one key or parts of the progression in one key. This will depend on how quickly the chords are moving one to another and the tempo of the tune. Usually the longer you stay on a chord the better chance you will have of hearing that chord in its own key center.

Specific Example

Everyone will vary on how they exactly hear the same progression, though in many cases it will be similar. Let's take a simple chord progression as an example: C Major to F7. Let's say there are two measures of C Major and one of F7. The tempo would be medium, around 100 BPM. When you play the F7, most likely you will not hear a new key center; you will hear F7 in relationship to the key of C. This will affect what scale you should use and how you will hear the notes of the of F7 chord.

READ THIS it's important!

Usually if you play an F7 chord you wouldn't think of it as an F Mixolydian scale BUT we are not hearing the F7 in the key of F; we are hearing it in the key of C so you would think of it as a C Dorian scale because you are in the key of C not in the key of F. Yes, a C Dorian scale and an F Mixoldyian scale are the same notes BUT if you are hearing in the key of C and the F7 chord is playing and you hear a melody in your head with scale degrees b3, 2, 1 then you would play Eb, D, C not Ab, G, F. What I've just stated is one of the most important lessons you will ever learn about hearing music and why my ear training method is crucial to developing compositional and improvisational skills.

Aural Comprehension is key to musical success

Now if you listen again to the notes of the F7 chord as you are hearing it in the key of C, you will not hear: F=1, A=3, C=5, Eb=b7 you will hear: F = 4, A = 6, C= 1, Eb = b3. As you can see, this is a pivotal step to understanding how your hear chord progressions and again why key center ear training is so important. Check out the book called Secondary Dominants Ear Training Studies that applies this same logic to all the Secondary Dominant chords. It's crucial that you learn this information NOW so you don't have to rewind and start hearing the correct way later on. It's important to realize how you are hearing chord progressions as opposed to how you are hearing the melodies in your head.

Practicing Scales with MetroDrone

Let's relate these ideas to practicing scales. Most professional musicians spend about 20 years practicing the scales. Practicing them in the right way is crucial so make sure you have either the Essential Scales book or the New York Guitar Method Volume One. Here is an unusual but highly productive way to use the MetroDrone when working with scales that relates to the discussion we just had about hearing chord progressions. The usual way musicians practice scales is to play them cycle 5 --so if you had a Major scale you would first play it in C then F, Bb, Eb, Ab etc... Instead of switching MetroDrone MP3s for each new key, just use a C MetroDrone and move through the modes of C Major all the while a C MetroDrone is sounding. This will get you processing scales all in one key which is the same thing that will happen when you are hearing a whole progression in one key as we previously discussed.

Applying MetroDrone to Modes

So you start with playing C Major (in all positions if you play a stringed instrument)

  • Then play a C Dorian Scale (which is actually a Bb Major Scale but you are hearing the notes in "C" so it's C Dorian.)
  • Then play C Phrygian (which is actually a Ab Major Scale but you are hearing the notes in "C" so it's C Phrygian.)
  • Then a C Lydian (which is actually a G Major Scale but you are hearing the notes in "C" so it's C Lydian.)
  • Then a C Mixoldian (which is actually a F Major Scale but you are hearing the notes in "C" so it's C Mixolydian.)
  • Then a C Aeolian (which is actually a Eb Major Scale but you are hearing the notes in "C" so it's C Aeolian.)
  • TThen a C Locrian (which is actually a Db Major Scale but you are hearing the notes in "C" so it's C Locrian.)

So you have played through all 7 modes of C Major!

  • Then I would take a break and later or the next day do the same process in the key of F with an F MetroDrone.
  • This way you will practice all the modes of major and start applying them the way you will hear them in many chord progressions.
  • (See Secondary Dominant book for more information on how how all this applies to the modes of Melodic Minor Ascending.)

MetroDrone and common chord progressions

Just so you can see some common chord progressions and how you might hear them in one key and the scales you would use, here are some examples:

  • C Major to F7 and hear that all in the key of C then you are moving between C Major Scale and a C Dorian Scale.
  • C Major to F-7 and hear that all in the key of C then you are moving between C Major Scale and a C Aeolian Scale.
  • C Major to Db Major and hear that all in the key of C then you are moving between C Major Scale and a C Phrygian Scale.
  • C Major to C-7b5 and hear that all in the key of C then you are moving between C Major Scale and a C Locrian Scale.

As you can see from this discussion how you hear greatly affects how you should think and play. This is why working with MetroDrone can lay the right foundation for your success with music.

Choose your version of the MetroDrone and get starting learning the correct way with MetroDrone TODAY!

Get either the Acoustic Bass or Tuba MetroDrone today and transform your sense of key and time.

Add digital copy to cart - $24.99 with Acoustic Bass
Add digital copy to cart - $24.99 with Tuba

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Essential Scales: Core Study Material for Any Instrumentalist

Essential Scales: Twenty Two Indispensable Contemporary Modes for all Instrumentalists by Bruce Arnold

Learning the essential scales is key to your success as a musician. Watch this video to learn more.

Essential Scales: Twenty Two Indispensable Contemporary Modes.

When you start to think about which essential scales to learn ask yourself these questions:

  • What techniques do professional musicians use to play scales at super-fast tempos?
  • What is the best way to learn scales?
  • What are the important scales to know?
  • How do chords and scales interact?
  • How does my ear influence my scale choice?
  • What chords can be derived from a scale?

All of these question are answered in Essential Scales: Twenty Two Indispensable Contemporary Modes for all Instrumentalists

Essential Scales: Twenty Two Indispensable Contemporary Modes for all Instrumentalistsis an in-depth study of the scales you must know to be ready for any musical situation. For all instrumentalists (with a special section showing guitar fingering) this book covers the 22 most commonly used scales in contemporary improvisation, which include:

  • Modes of Major.
  • Modes of Melodic Minor Ascending.
  • Diminished.
  • Symmetrical Diminished.
  • Whole Tone.
  • Blues.
  • Major and Minor Pentatonic.

Essential Scales goes the extra mile

Most books stop with these previously mentioned scales but Essential Scales: Twenty Two Indispensable Contemporary Modes for all Instrumentalists goes the extra mile with a close-up look at that "secret sauce" the professionals use to gain their Master Musician ability.

You too can gain this knowledge which includes:

  • Chord/scale relationships are explored in depth including how your "ear" will influence your scale choices.
  • The 3 and 4 note chords generated from each scale used in composing, developing modal chording patterns and exploring new chord voicings; Guitarists, pianists, and composers will find this specifically useful.
  • Only this book demystifies the process professional musicians use to achieve master musician facility and knowledge of scales, using 2 and 3 note modal sequencing.
  • The secret to shred level speed which is revealed with the "Long Line Rhythm" concept. This will take your playing to warp speed.

Whether you are a total beginner or an advanced musician this book will open the world of scales to you in a way that no other book can.

Get Started today with Essential Scales and have a whole new experience learning scales!

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Guide Tones

Guide Tones

Theory, Application and Aural Comprehension

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The secret to playing and hearing melodies over chord progressions

Do you want to learn the secret to playing and hearing melodies over chord progressions? If you've been knocking your head against the wall for years and not getting anywhere when trying to play over more than one chord, this "Guide Tones" course is your answer. Creating great melodic solos over chord progressions is one of the toughest nuts to crack. The "Guide Tones" Course breaks through these barriers by presenting you with a logical, holistic approach to developing this skill.

Totally change your understanding of how to play over chord progressions!

This "Guide Tones" class is quite simply the key that opens the door to playing over chord progressions! This massive course contains all the elements you need to understand, apply and hear the melodic lines that make sense over simple or complex chord changes. As you can see below, you get everything you need to take a beginner, intermediate or advanced student to a level where they are truly hearing melodies in a key center, even if the progression contains highly complex chords. Here's what you get:

  • 15 Videos and one 113 page PDF on the theory and application of guide tones.
  • How to apply guide tone lines to chord progressions with 192 chord progression examples.
  • An extensive ear training section which includes ground breaking theory on how to "hear" guide tones and 192 MP3s to use to develop your ability to hear and play guide tone lines.
  • 36 Chord Progressions with four examples of guide tone lines each which shows you how these melodies work with both simple and advanced chord changes.
  • Midifiles of all exercises and recommendations on how to use these files to develop your skills.
  • Backing Tracks in a Blues/Jazz style for 36 chord progressions at 3 different tempos.
  • Backing Tracks in a Funk Style for 36 chord progressions
  • Walking Bass Backing Tracks in a Blues/Jazz Style for 36 chord progressions

A Course for Any Style of Music

No matter what style of music you like, working with this course will develop your ability to solo over chord changes in just about any genre. The book shows you the relationships between the chords you are working with and those in popular pop tunes, demonstrating how applying yourself to this course makes for better solos on any chord changes in any style.

Guide Tones is one of the Core Courses of the Bruce Arnold System..

The "Guide Tones" course show you how to hear melodies in a key center throughout a piece of music. This simple way of hearing melodies as they relate to a key center and not the interval between each note is actually revolutionary. Without this kind of understanding your ability to play beautiful melodies within a key center will be drastically hampered. This course will also teach you how to identify the notes that are being played when you hear a simple melody moving through complex chord changes. This course also takes you from very simple Blues, Minor Blues and Rhythm Changes to highly sophisticated examples.

Common Questions

 

 

 

 

  • Quite a few of you have been asking me "what is the best way to practice with the Guide Tones Course?"  Here are some recommendations.
  • First, the Full MetroDrone course is a super helpful tool to use in conjunction with the Guide Tones course, and gives you the most options in the long run.  I have included a few MetroDrones already to get you started, but you will eventually want to speed up your ability, which will require the Full MetroDrone Course.  Depending on your level you could start each Guide Tone line exercise differently and over time you might start skipping some steps as you improve.
  • Here is a ground-up approach.
  • Sing the Guide Tone line over a MetroDrone: pick a tempo or use the included MetroDrone files. If using the full MetroDrone course pick a tempo that allows you to sing one note per MetroDrone pulse.
  • If you are not sure you are singing correctly use the MetroDrone with the note and name addition which is included in the course to check your intonation.  When possible try to sing the note before the tone and answer are given.
  • Once comfortable with 1-2 Try to sing the Guide Tone line over the chord changes.  You can do this multiple ways.

 

 

 

  • Here is a list from easy to difficult.
  • Sing along with the Guide Tone MP3 with chords which will give you both the note and the answer in the key center.
  • Sing along with the Guide Tone MP3 with chords only.
  • Sing along with the Guide Tone MP3 with bass and chords in a Funk Style.
  • Sing along with the Guide Tone MP3 with bass line.
  • Things to remember:
  • You are trying to hear all notes in the key center, NOT in relationship to the chords.
  • I recommend using solfeggio for the singing, but note names or degrees can work too.
  • Try to master one Guide Tone Line per week.  You should be able to do this with about 15 minutes of study each day.
  • Try to also apply the Guide Tone Line using your chosen instrument so that you start to improvise around the Guide Tone Line.
  • Keep in mind:
  • The “Guide Tones” Course is teaching you how to hear melodies over changing chords. This will transform your ability and understanding of playing and hearing chord progressions.
  • Be patient! For some of you who are getting only around 50% correct answers on the One Note Ear Training, it will be tougher, but remember that it is getting you to understand how to hear with chord changes, which is important to your understanding of music in general. So don't rush, just learn at your own speed.
  • Most music uses the same kinds of chord progressions over and over, as is demonstrated with the pop tunes mentioned in the course.  So learn one Guide Tone line, and  it will actually work over many chord progressions, in many songs. So by mastering one Guide Tone line you will have done a lot to help you hear music.

 

 

 

 

 

Get the Guide Tones Course Today!

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Improvising over Classical Music Masterpieces

Improvising over Classical Music Masterpieces

This book explores Improvising over Classical Music. The examples in the book were recorded by Spooky Actions, a New York based ensemble created by John Gunther and Bruce Arnold. Spooky Actions has produced a diverse set of recordings include the music of 20th century composers Anton Webern, Arnold Schoenberg and Olivier Messiaen; interpretations of Native American music Volume One and Volume Two, and well as a recording of Early Music from the 2nd century BC through the 1500’s. Their unique and compelling sound is being met with critical acclaim and widespread interest.

Improvising on Classical Music Masterpieces

by Bruce Arnold

Contents of the Improvising over Classical Music Book

This book contains not only analysis of how the group "Spooky Actions" improvised over various Classical music masterpieces but a large body of ideas that a musician can use to Improvising over Classical music from various periods. There is a primer section in the book that covers:

  • The most used scales in improvisation. (22 in total)
  • The improvisational concepts of guide tones
  • The improvisational concepts of playing over harmony.
  • The improvisational concepts of using chord tones.
  • The improvisational concepts of using approach notes.
  • The improvisational concepts of using pitch class sets.
  • Fingering for guitarists for the twenty two scales.

All of this information is actually useful no matter what type of music you are improvising over!

Full Tracks Included from Many "Spooky Actions" CDs.

MP3s are included in the download as is a webpage where you can listen and see full scores of the music. There is a wide range of Classical Compositions included in this book which gives you a good background on how to approach different periods of classical music. Below you will find a list of the music analyzed and a link to the CD in which it can be found. You can also use this link if you want to listen to an excerpt before buying this book or want to hear a music excerpt from that composer or period.

"Early Music"

Classical Masterpieces, Improvising Classical Music, Improvising over Classical Music, Early Music: Spooky Actions by Bruce Arnold for Muse Eek Publishing Company

The following compositions were analyzed from the "Spooky Actions" CD "Early Music."

  • "Skolion-of-Seikilos" Earliest known piece of music that was written.
  • "Ode from the Kanon for Easter Sunday"
  • The 1st Canzonet, “Qual si può dir maggiore“ by Claudio Monteverdi

“Quartet for the End of Time” by Olivier Messiaen

Classical Masterpieces,Improvising Classical Music, Improvising over Classical Music, Bruce Arnold and John Gunther's Group "Spooky Actions" CD "Messiaen, Quartet for the End of Time."

The following compositions were analyzed from the "Spooky Actions" CD "Quartet for the End of Time" by Olivier Messiaen

  • “Quartet for the End of Time” 1st Movement
  • “Quartet for the End of Time” 6th Movement
  • “Quartet for the End of Time” 8th Movement

"Five Piano Pieces," Opus 23 2nd Movement by Arnold Schoenberg

Classical Masterpieces, Improvising Classical Music, Improvising over Classical Music, Bruce Arnold and John Gunther's Group "Spooky Actions" CD "Schoenberg, Five Piano Pieces op. 23"

Five Piano Pieces, Opus 23 2nd Movement by Arnold Schoenberg from Spooky Actions "Five Piano Pieces" recording..

The following compositions were analyzed from the "Spooky Actions" CD Five Piano Pieces, Opus 23 2nd Movement by Arnold Schoenberg

  • "Five Piano Pieces," Opus 23 2nd Movement by Arnold Schoenberg

The Fünf Canons, Opus 16 1st Movement by Anton Webern

Classical Masterpieces, Improvising Classical Music,Improvising over Classical Music, by Bruce Arnold and John Gunther's Group "Spooky Actions" CD "The Music of Webern.

Fünf Canons, Opus 16 1st Movement by Anton Webern

The Fünf Canons, Opus 16 1st Movement by Anton Webern from Spooky Actions "Music of Webern" recording

The following composition we was analyzed:

Get "Improvising on Classical Masterpieces today!

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listen to this

Listen To This

Muse Eek Publishing Presents: "Listen To This" Adventurous Electronic Excursions by Judi Silvano and Bruce Arnold

Featuring:

Judi Silvano–Voice with Live Processing

Bruce Arnold–Guitar and SuperCollider

"The definitive breakdown of musical categorization was delivered in 1962 by Duke Ellington: “There are simply two kinds of music, good music and the other kind.” File this album in the Good Music section."

–Steve Holtje, Manager, ESP-Disk

“This is some Beautiful Cosmic Music created by two of the most inventive musicians on the scene today.”

–Joe Lovano, 2016

"Brilliant. Love it; almost a Kraftwerk twist to it."

–Rob Taylor nmblive.com, 2017

Listen To This

The intuitive understanding between musicians is called “chemistry” and Listen To This, with Judi Silvano and Bruce Arnold has chemistry in abundance. The duets on this recording, some improvised, some composed, show a duo who are intensely tuned into every nuance as they follow the sonic twists and turns of these 12 striking songs. This is some deep listening.

While Judi Silvano may be best known for her extensive jazz catalogue, her passions extend well beyond, to embrace classical and free improv music. Her background in modern dance also adds an underlying spatial physicality. It is this spatial element that is particularly present on Listen To This, and a likely reason that working with Bruce Arnold proved to be so rewarding.

Hailing from Sioux Falls South Dakota, Bruce Arnold has been exploring the potentials of his beloved electric guitar for years, using the program SuperCollider to summon up atmospheric soundscapes. His added fascination with 12 tone and pitch class theory as applied to improvisation lends his playing a distinctive harmonic and melodic voice. To find out more about what equipment was used on this recording please see bottom of page.

When the two artists decided to see where a duet situation would lead them, both were surprised at the ease with which they created engrossing, evocative music. “I couldn’t believe how comfortable Judi was with pedals and effects she had never used before.” says Arnold. “And what she did with them was so cool, it was great to improvise with; it felt very free to create along with her.” As for Silvano, she says “Bruce has exactly what I look for in a musician- he is literate, sensitive, and incredibly open in his approach.”

judisilvano-brucearnold Promo Picture

The Tracks

Listen To This opens with “Remembrances” a bluesy rumination that is made sinister by the use of a half step combined with a major 3rd. A free improv that become a story of life's complexity.

The other tracks on "Listen to This" are:

  • Space Lullaby: The welcoming release of majestic arpeggiated guitar chords ring out like church bells to Judi’s soaring melodies.
  • My Neighborhood: Judi wrote this song as an homage to life’s beauties, but it acquired some ironically dark overtones with the addition of processing. Judi and Bruce do some impressive back and forth in the “break.”
  • Cats Are Watching: This track provides some whimsy —ever wondered what the brain patterns of a cat might sound like?
  • Complete Embrace: A hallucinatory art song incorporating poetic fragments into one of Judi’s compositions. There’s no vocal processing, allowing Judi’s rich voice to ring clear.
  • Sioux Falls: Bruce's ode to the running waters of the Sioux Falls.
  • Travel Chant: Judi sings a brief melody as she walks through a crystalline landscape.
  • In The Deep: an extremely ambient interlude with denizens of the watery abyss —complete with sonar.
  • Listen To This: the most abstract of the composed tracks, with various repeating motifs.
  • Great Plains: recalls the huge vistas of the west, and Judi waxes both lyrical and stratospheric.
  • Journey to be Free: From obscurity to clarity, literally.
  • Listen Again: A free improv interpretation of Judi’s composition “Listen To This” with an abundance of live sound processing.

Excerpts from "Listen to This":

  • Remembrances
  • Travel Chant
  • My Neighborhood
  • Cats Are Watching
  • Complete Embrace
  • Sioux Falls
  • In The Deep
  • Space Lullabye
  • Listen To This
  • Journey To Be Free
  • Listen Again

Get "Listen To This"...today!

Status: In stock, physical CD ships in 24 hours. Digital downloaded MP3s are available for immediate access.

FREE SHIPPING WHEN ORDER TOTAL IS OVER 200.00 USD.

 

Michal Shapiro created a video using one of the compositions on this CD entitled "My Neighborhood." This video was honored by the Photoworks Organization Of Glen Echo Park, Maryland, USA and included in one of their video shows. If you order the CD download of "Listen To This" a copy of this video will be included.

Award winning video of "My Neighborhood"

 

The Equipment Used on This Recording

This CD used extensive live audio processing of the voice and guitar. Below is a list of the equipment used:

Bruce Arnold's Equipment:

  • Music Man Silhouette Guitar
  • Mac Laptop running SuperCollider
  • Voodoo Lab Ground Control Midifootcontroller
  • Two Proel Expression Pedals
  • Vertex Volume Pedal
  • BB Preamp
  • Distillery by Tone Concepts
  • Lehle "Dual"
  • 1957 Fender Deluxe Amplifier
  • SonoSax SX-M1 and SX-M2 preamps
  • Great River MP-2MV Preamp

Judi Silvano's Equipment:

  • Mac Laptop running Fishman Triple Play Interface
  • Eventide Anthology X Plugins
  • Universal Audio Apollo Twin DUO Audio Interface
  • Gordius MidifootController
  • 2 Mission Engineering Expression Pedals
  • Great River MP-2MV Preamp
  • SoundDeluxe E47 Microphone

To find out more about Judi Silvano or Bruce Arnold please visit their websites.

Ultimate 3 Note Chord Lexicon

Ultimate 3 Note Chord Lexicon

Ultimate 3 Note Chord Lexicon covers 3 note chords. Typically chord books cover chords build in 3rds. For the first time available anywhere the Ultimate 3 Note Chord Lexicon books explore the other 11 ways that chords can be built revealing a whole new world of sound! Each of the 12 volumes gives you a in-depth explanation of each 3 note chord in addition to études to help you hear how these structures sound over various harmonic situations which can also be used to help you memorize and apply each 3 note group.

Bruce Arnold states that the "Ultimate 3 Note Chord Lexicon" also gives you a crucial information on how you can understand and apply each 3 note chord. It is interesting to note that as you build chords with smaller structures there are more places that these chords can be used as substitutions. This makes these chords especially useful because they can be used in so many more situations that larger chord voicings. A chart is included in each book showing you all the practical ways that each 3 note structure can be used as well as examples in the études.

A money saving Bundle or 12 separate volumes can be purchased.

Here is a breakdown: Click on a title to go directly to the book.

Each book includes a 131 Page PDF, MP3s and Midifiles plus bass clef part for each exercise. Click on individual instrument if you prefer a single download.

Ultimate 3 Note Chord Lexicon Bundle

Ultimate 3 Note Chord Lexicon: BUNDLE

Ultimate 3 Note Chord Lexicon Bundle is the most cost effective way to study!

The Bundle contains all 12 books in this series. It will give a student a life time of new ideas for playing chords and developing highly original styles of playing within any idiom.

Expand your concept on how to choose which chords you play for each song you learn.

These books allow you to be much for compositional in your choice of chords to use for any song. If the melody of a song mostly contains whole steps and 4ths then why not choose a chord structure that is based on those intervals? 025 or 027 would be great choices in this previously circumstance!

Who should use the Ultimate 3 Note Chord Lexicon?

These books can be used by composers and instrumentalist to create new interesting sounding chords. All inversions are included so a composer or pianist has a readily available list. Guitarist will find chords specifically voiced for their instrument with chord diagrams to help them quickly find the chords. Composers writing for guitar will find exact voicings that they know will be playable on the guitar.

MP3s include bass and drum grooves as well as chords.

Bass and drums are included with all MP3s making them fun and helps a student see exactly what these chords will sound like in a musical situation. Tracks are also included without the chords so that a student can improvise over each track.

Save money with the Ultimate 3 Note Chord Lexicon Bundle.

The bundle is a great way to save money. If you buy all the Ultimate 3 Note Chord Lexicon separately it will cost you 239.88. Get them now for the low price seen below.

Get Ear Training Ultimate 3 Note Chord Lexicon Bundle download as a preorder for special price. Books added as published

Twelve 131 Page PDFs, 9504 MP3s and 608 Midifiles plus bass clef part for each exercise.

Status: Volumes 1-3 are Currently Available 4-12 are NOT CURRENTLY PUBLISHED!, Digital book is available for preorder!


Ultimate 3 Note Chord Lexicon Individual Courses

If you prefer to order single books in this series you will find information on each below:

Ultimate 3 Note Chord Lexicon Series of 12 volumes on 3 note pitch class sets

Ultimate 3 Note Chord Lexicon Volume One "012"

Example of the études found in Volume One

Each group of études found in this book applies an “012” chord to different styles of music or uses “012” is different ways. All études include 3 different tempos to help a student slowly master each exercise. You will find that the faster you play “012s” the more musical they sound so expect a period of development before this combination is fluent.

Most of the études include addition rhythm section MP3 which can be used to create you own improvisation or used with the
"Ultimate Arpeggio" book to play the études found in that study. Overall the best idea to practice the use of “012s” is to:

  • Learn the chord voicings for either piano or guitar by playing them cycle 5.
  • If you are a composer write short études uses the “012.”
  • Learn how to play the études by first starting slow and then increasing the tempo each day.
  • Just listen to the études to get the sound of the 3 note grouping into your ear.
  • Sight sing through the études by arpeggiating the chord voicings or singing the bass lines. Many times students may need to use the MetroDrone to help them maintain the key center.

Below are four examples from the “Ultimate 3 Note Chord Lexicon Volume 1: “012.”

  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.
  • Level 2 MP3 for example above with 2 measure count-off which also creates the key center.
  • Level 1 for example above with 2 measure count-off which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course. Bass charts are also included for all exercises except this example.
  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.
  • Level 2 MP3 for example above with 2 measure count-off on beats 1 and 3 which also creates the key center.
  • Level 1 for example above with 2 measure count-off on beats 1 and 3 which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course.
  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.
  • Level 2 MP3 for example above with 2 measure count-off which also creates the key center.
  • Level 1 for example above with 2 measure count-off which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course.
  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.
  • Level Two MP3 for example above with 2 measure count-off which also creates the key center.
  • Level 1 for example above with 2 measure count-off which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course.

Get Ultimate 3 Note Chord Lexicon Volume One "012" download today!

ISBN: 978-1-59489-531-9

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: In stock, Digital book is available for immediate access.


Ultimate 3 Note Chord Lexicon: Volume Two, 013

Ultimate 3 Note Chord Lexicon Volume Two "013"

Volume Two in this series is a MUST OWN course.

"013s" are some of the most beautiful and useful sounds in music. It is also the most versatile chord of the 12 different chord types. Recent research proves that "013" was used extensively by John Coltrane in his late recordings. Proving once again that "013" is a must learn pitch class set because of the great diversity in its application. Below is a quick list of some benefits:

  • "013" can be used as a replacement for any chord type.
  • "013" is an easy chord to play on both the guitar and the piano.
  • "013" can create both a consonant or dissonant sound depending on how it is voiced.
  • There is a large quantity of songs and compositions that have a preponderance of "013s" in their melody
  • Scales such as the Modes of Major, Melodic Minor Ascending, Harmonic Minor and Diminished all have two discreet "013s" in their scale so it can easily be substituted for these sounds.

Example of the études found in Volume Two

There are seven sets of études in this course and each applies an “013” chord to different type of musical situation. All études include 3 different tempos to help a student slowly master each exercise. "013s" are beautiful sounding at any tempo so the learning curve is not as steep and you can start using them in your playing quickly. "013s" are excellent for replacing the tired chords you play. They are also create a great sound when used in a modal situation.

Most of the études include addition rhythm section MP3 which can be used to create you own improvisation or used with the
"Ultimate Arpeggio" book to play the études found in that study. Overall the best idea to practice the use of “013s” is to:

  • Learn the chord voicings for either piano or guitar by playing them cycle 5.
  • If you are a composer write short études uses the “013.”
  • Learn how to play the études by first starting slow and then increasing the tempo each day.
  • Just listen to the études to get the sound of the 3 note grouping into your ear.
  • Sight sing through the études by arpeggiating the chord voicings or singing the bass lines. Many times students may need to use the MetroDrone to help them maintain the key center.

Below are four examples from the “Ultimate 3 Note Chord Lexicon Volume 2: “013.”

  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.
  • Level 2 MP3 for example above with 2 measure count-off on beats 1 and 3 which also creates the key center.
  • Level 1 for example above with 2 measure count-off on beats 1 and 3 which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course.
  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.
  • Level 2 MP3 for example above with 2 measure count-off which also creates the key center.
  • Level 1 for example above with 2 measure count-off which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course.
  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.
  • Level Two MP3 for example above with 2 measure count-off which also creates the key center.
  • Level 1 for example above with 2 measure count-off which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course.
  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.
  • Level 2 MP3 for example above with 2 measure count-off which also creates the key center.
  • Level 1 for example above with 2 measure count-off which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course. Bass charts are also included for all exercises except this example.

ISBN: 978-1-59489-532-6

119 Page PDF, 504 MP3s and 84 Midifiles plus bass clef part for each exercise.

Status: In Stock, Digital book is available for immediate download.


Ultimate 3 Note Chord Lexicon: Volume Three, 014

Ultimate 3 Note Chord Lexicon Volume Three "014"

Volume Three covers 014 chords which are distinctively evocative.

"014s" are mostly used as a substitute for a dominant 7th chord but can also be used as °7 or -Major7 chords. 014's pair up as a hexatonic scale in many ways and this book covers them all. Below is a quick list of other benefits:

  • "014" gives a sound reminiscent of Thelonious Monk!
  • "014" is an easy chord to play on both the guitar and the piano.
  • "014" creates a mostly dissonant sound so it is very useful when this type of sound is called for i.e. Jazz, Heavy Metal etc...
  • There is a large quantity of songs and compositions that have a preponderance of "014s" in their melody. Most of the work Anton Webern employes an "014" pitch class set. Some other notable compositions are Mr. Arnold's "Numbers" or Judi Silvano and Bruce Arnold's haunting blues "Remembrances."
  • Scales such as the the highly used Symmetrical Diminished (1/2 step, whole step) have many discreet "014s" in its scale so it can easily be substituted for these sounds.

Example of the études found in Volume Three

There are five sets of études in this course and each applies an “014” chord to different types of musical situations. All études include 3 different tempos to help a student slowly master each exercise. "014s" are beautiful sounding at any tempo so the learning curve is not as steep and you can start using them in your playing quickly. "014s" are especially useful for replacing the tired dominant chord vocings that you play.

Most of the études include addition rhythm section MP3s which can be used to create you own improvisation or used with the
"Ultimate Arpeggio" book to play the études found in that study. Overall the best idea to practice the use of “014s” is to:

  • Learn the chord voicings for either piano or guitar by playing them cycle 5.
  • If you are a composer write short études uses the “014.”
  • Learn how to play the études by first starting slow and then increasing the tempo each day.
  • Just listen to the études to get the sound of the 3 note grouping into your ear.
  • Sight sing through the études by arpeggiating the chord voicings or singing the bass lines. Many times students may need to use the MetroDrone to help them maintain the key center.

Below are four examples from the “Ultimate 3 Note Chord Lexicon Volume 3: “014.”

  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.

  • Level 2 MP3 for example above with 2 measure count-off on beats 1 and 3 which also creates the key center.
  • Level 1 for example above with 2 measure count-off on beats 1 and 3 which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course.
  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.

  • Level 2 MP3 for example above with 2 measure count-off which also creates the key center.
  • Level 1 for example above with 2 measure count-off which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course.
  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.

  • Level Two MP3 for example above with 2 measure count-off which also creates the key center.
  • Level 1 for example above with 2 measure count-off which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course.
  • There are 3 MP3s for each étude each gets progressively faster. Since these études make more musical sense when play at a faster tempo the MP3s below start with the fastest MP3 and then get slower. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo.

  • Level 2 MP3 for example above with 2 measure count-off which also creates the key center.
  • Level 1 for example above with 2 measure count-off which also creates the key center.
  • You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo... Super slow or extremely fast with the midifiles that accompany this course. Bass charts are also included for all exercises except this example.

ISBN: 978-1-59489-533-3

106 Page PDF, 360 MP3s and 60 Midifiles plus bass clef part for each exercise.

Status: In Stock, Digital book is available for immediate download.


Ultimate 3 Note Chord Lexicon: Volume Four, 015

Ultimate 3 Note Chord Lexicon Volume Four "015"

Get Ultimate 3 Note Chord Lexicon Volume Four "015" as preorder!

ISBN: 978-1-59489-534-0

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: NOT CURRENTLY PUBLISHED!, Digital book is available for preorder.


Ultimate 3 Note Chord Lexicon: Volume Five, 016

Ultimate 3 Note Chord Lexicon Volume Five "016"

Get Ultimate 3 Note Chord Lexicon Volume Five "016" as preorder!

ISBN: 978-1-59489-535-7

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: NOT CURRENTLY PUBLISHED!, Digital book is available for preorder.


Ultimate 3 Note Chord Lexicon: Volume Six, 024

Ultimate 3 Note Chord Lexicon Volume Six "024"

Get Ultimate 3 Note Chord Lexicon Volume Six "024" download today!

ISBN: 978-1-59489-536-4

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: NOT CURRENTLY PUBLISHED!, Digital book is available for preorder.


Ultimate 3 Note Chord Lexicon: Volume Seven, 025

Ultimate 3 Note Chord Lexicon Volume Seven "025"

Get Ultimate 3 Note Chord Lexicon Volume Seven "025" as preorder!

ISBN: 978-1-59489-537-1

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: NOT CURRENTLY PUBLISHED!, Digital book is available for preorder.


Ultimate 3 Note Chord Lexicon: Volume Eight, 026

Ultimate 3 Note Chord Lexicon Volume Eight "024"

Get Ultimate 3 Note Chord Lexicon Volume Eight "026" as preorder!

ISBN: 978-1-59489-538-8

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: NOT CURRENTLY PUBLISHED!, Digital book is available for preorder.


Ultimate 3 Note Chord Lexicon: Volume Nine, 027

Ultimate 3 Note Chord Lexicon Volume Nine "027"

Get Ultimate 3 Note Chord Lexicon Volume Nine "027" as preorder!

ISBN: 978-1-59489-539-5

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: NOT CURRENTLY PUBLISHED!, Digital book is available for preorder.


Ultimate 3 Note Chord Lexicon: Volume Ten, 036

Ultimate 3 Note Chord Lexicon Volume Ten "036"

Get Ultimate 3 Note Chord Lexicon Volume Ten "036" as preorder!

ISBN: 978-1-59489-540-1

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: NOT CURRENTLY PUBLISHED!, Digital book is available for preorder.


Ultimate 3 Note Chord Lexicon: Volume Eleven, 037

Ultimate 3 Note Chord Lexicon Volume Eleven "037"

Get Ultimate 3 Note Chord Lexicon Volume Six "037" as preorder!

ISBN: 978-1-59489-541-8

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: NOT CURRENTLY PUBLISHED!, Digital book is available for preorder.


Ultimate 3 Note Chord Lexicon: Volume Twelve, 048

Ultimate 3 Note Chord Lexicon Volume Twelve "048"

Get Ultimate 3 Note Chord Lexicon Volume Six "024" as preorder!

ISBN: 978-1-59489-542-5

131 Page PDF, 792 MP3s and 108 Midifiles plus bass clef part for each exercise.

Status: NOT CURRENTLY PUBLISHED!, Digital book is available for preorder.


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