Removing Interval Training for Key Based Training

Removing Interval Training for Key Based Training

Q Five years ago I was diagnosed with rheumatoid arthritis which fairly abruptly halted my career as a guitarist. At that time I changed my focus from performance to composition and began getting into the film and media music business. I also started on an ear-training quest to eliminate my dependency on an instrument during composition (to compose from my mind directly to manuscript paper) due to the difficulty I have at times. I have a degree in composition and have spent quite a bit of time on interval based ear training. I have also recently completed Burge’s Relative Pitch Ear Training Course and have had quite a bit of success using these techniques. Do you think I should be removing my interval training for key based training?

However, I was recently browsing Amazon’s bookstore and I stumbled onto your books and I was intrigued enough to buy them. Here’s why: When I’m composing to paper, I find that I naturally use a combination of interval based and key based techniques (I was unaware of what I was doing until I read your book). I could certainly use more work on my key based technique, which is why I’m planning to start your course. My question: Do you really have to unlearn all traces of interval based ear training to completely grasp your method? It would still seem to me, in my situation, that a subconscious combination of both methods would yield the best results. I compose all sorts of music from abstract atonal orchestral music to contemporary jazz and pop rock songs and I think it would depend on the situation. I am interested in your thoughts. It will help me decide how to approach your material. I would also appreciate any other advice you have in helping me achieve my goal.

A In general I find that students who have a lot of interval based ear study behind them before they start my method have a lot of trouble. I do believe both methods could be used at the same time and I know musicians who do that. I find that their ears are better than most but not as good as someone who really has the key based system together, Key Note Recognition. I should say to get it ‘together’ is a multiple year process if not a life long pursuit. I don’t believe there is any music that is atonal. There are people that would certainly hear it as atonal because they haven’t developed their ears to the point where they can hear the music within a key. I can prove this to you but it would take you working through the method to the point where you are pretty good with Two Note Ear Training. At that point I would have you start to sing things like Schoenberg’s Five Movements for Piano or Webern’s Funf Canons. You would see that over time you would hear these pieces in a key center. The key center may move frequently but you would hear it tonality.

You will particularly have problems with Two Note Ear Training if you have a strong interval background. These problems are something that anyone can overcome but as you improve with the key based system you will see your reliance on intervals becomes less and less.

It is also recommended that you read Bruce Arnold’s Blog at his artist site. It contains more discussion of the musical topics found in these FAQs as well as other subjects of interest. You will also find the “Music Education Genealogy Chart” located here which shows you the historic significance of the music education products found on the Muse Eek Publishing Company Website.