The Relative PitdJ.

Ear-Training SuperConrse

Virtuoso music instruction by 'David lucas Burge

Level 1 Footnotes

POINTS TO READ BEFORE GOING THROUG H THE COURSE:

* Be sure you have listened to the Introductory Talk and have passed Lesson I before starting LEVEL 1.

* Do not worry if you feel that beginning tapes are easy at first. This is the way to culture the ear-start with the simple things and work up gradually to a solid, established Relative Pitch. Even if you already have a good ear, we can make it even better just by following the instructions innocently and "tuning . up" from scratch. Always do all Lessons in their proper sequence.

* If you like, listen to the CDs or tapes through headphones. In all cases, keep the volume at a medium level. Do not turn up the volume in order to "hear what's going on better." The ear will hear more and . more as we condition it-NOT by forcing loud sounds into it! Avoid a headache-just listen easily and comfortably-no effort, no strain.

* Note for musicians with Perfect Pitch: These lessons have been produced with special attention to ensure that the pitch level is accurate. They were recorded with piano and synthesizer just slightly sharp (the way I like It), However, the actual pitches could vary on your player. If you find them sharp or fiat, do not worry. This Course is concerned with Relative Pitch, you need listen only to pitch relationships.

* If you hear a faint echo of music or talk a few seconds before the actual audio content: This is called

--~-"'print-1hrough," and is a common occurrence in the production of analog master tapes. It is gener:ally.---.---~ .. not noticed with music tapes because the music sim ply covers up these "echoes:' In these lessons we

don't mind or become concerned at all if we should notice this. Regardless of what else is going on-

even in the outside room around us-we can always do our ear-training. Remember: In the "real" musi-

cal world, many things do go on at once. It is the art of ear-training to be able to separate out sounds in

the real world and understand them.

* How to use these Footnotes: Each lesson has special footnotes which apply to various points you will be learning. Before starting each lesson, check these Footnotes. Read only the notes that apply to you at a particular time. Be sure not to read ahead of where you are, as these Footnotes contain information that will benefit you best when read at the proper time (and they sometimes contain answers to questions which you should not see until the proper time).

* It is good to practice Relative Pitch drills for about 20 to 30 minutes per day. Work on a lesson for as many days as is necessary to complete it, then move to the next lesson.

* Never rush. Just ENJOY!

LESSON 2:

-Read after hearing Lesson 2:

* Musicians who have Perfect Pitch should simply practice the techniques and drills in exactly the same way as those without it. Allow your attention to favor the feeling of relationship.

* Practice pitches you use for the Grand Round may be either standard concert pitches (what the pitch-

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es are called on a piano) or what they are on your own instrument Example: A concert a is a 0# on a J3I, trumpet; the trumpet player may prefer to call the tone D# while practicing his Grand Rounds. This is fine. Relative Pitch is only concerned with relationshlps=-It doesn't matter what you call the tones.

* I do wish I had a better singing voice to demonstrate this drill, but I think you get the idea! (This lesson should shatter the myth that Perfect Pitch automatically ensures an extraordinary singing votce'l However, vocalists who develop their ear with Relative Pitch (and Perfect Pitch) will quickly become convinced that their vocal skills are vitally dependent on their ear's ability to sense pitch. Ear-training will produce wonderfully rich results for vocalists who know how to otherwise use their voice .

.. ESSON J:

-Read just before starting tests:

* Even though you can pass with up to two strikes, be sure you "correct the mistakes" in your own mind and ear so you won't make them again. On sound tests, just back up the CD or tape for a few seconds and listen again; on spelling tests, stop the tape a moment to think through the spelling and to understand the correct answer.

* When taking tests you should not look at keyboard reference chart, keyboard, fretboard or any instrument as an aid to visualizing the intervals. Any visualizations should he done only in your own mind!

-Read after passing tests:

* Musicians who are already familiar with musical spelling will simply pass these spelling tests quickly and move on-same with sound tests if you already have a good degree of Relative Pitch. However, these tests ensure a very fine tuning of the ear and intellect which may never have occurred in past musical training-a real strengthening which will become apparent as the listening becomes more complex and you complete the Course.

-Read when finished Lesson 3:

* Even with excellent vocal control. equal-temperament of musical instruments makes it impossible for anyone to sing "absolutely perfectly" intune compared tothe instrument-because even a perfectly tuned instrument is itself slightly out of tune! (More on this in Lesson 37) When practicing we simply do our best to stay in tune without making a big deal about it

* When practicing Grand Round of Fourths, you will not need to use these spellings: O/R, BIllE#.

LESSON 4: -Read before tests:

* Remember to STOP the tape and immediately review your perfect fourths if youstrike out on a test Learn them thoroughly and try again the NEXT DAY (don't allow yourself more than one daily "try"). Better still: learn the assignments better the first time so you avoid striking out!

-Read after passing tests:

* Never allow background noises to bother you. Regardless of where you are, you can always think of pitches even when other music or distractions are there. The key is to not mind them.

'-Read when finished lesson 4:

* Technically, a chord is composed of three or more tones, but I often loosely refer to two or more tones as a chord.

* Check your reference chart for the correct signs for double flats and sharps. See that somewhat difficult sign for double sharp? It's much easier to write a simple "x"-everybody does it this way .

t. ESSON $:

-Read after passing tests:

* By learning your spellings-and singing them in correct pitch when practicing your intervals and taking tests-you are also culturing your ear for Perfect Pitch (or strengthening your Color Hearing if you already have it).

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-Read just before starting first Lightning Round [29:35]:

* Listen to all Lightning Rounds on a Lesson at full speed the first time through. Then, go back and repeat all the drills where you got two or more strikes (do this for your homework assignment), Having listened once to each Lightning Round, it's now a good idea to backtrack the audio and immediately relisten whenever you make a mistake. Hear the example again correctly. This way your ear will learn to understand each sound. This is how the ear becomes cultured-by making errors and correcting them. Work each drill until you can get through it at full speed with one strike or less.

-Read after listening to all Lesson 5 drills once through:

* Even when you repeat a drill so often that you memorize the order of the answers, this is fine. When your mind already knows the answer, then allow your ear to "check" the answer to hear for itself why it is so. As long as the ear listens, ear-training is happening.

* If you already knew your basic intervals before starting the Course, you may find these first Lightning Rounds easy. But can yo~ pass them without your ear getting tired and starting to make mistakes? These drills will give your ear a workout and keep it in shape.

* For musicians with Perfect Pitch: You might also like to do all Lightning Rounds again-this time you can play the actual tones on your instrument as you hear them. Excellent drill!

* On drills, don't just think the answer-say it out wud!

-Read after completing Lesson 5:

* Spellings of the minor thirds are trickier than previous intervals; study them thoroughly so they won't trip you up during testing!

LESSON 6:

-Read before last Lightning Round [33:55]:

- * Yo-u-don't get to hearchords long in this Lightning Round! Don't-try to think about them-toe-much-as

you listen-just judge quickly whether they "feel" major or minor.

-Read before Puzzle Drill [38:10]:

* If you have Perfect Pitch, simply identify and spell the chords (properly of course) that you hear in the Puzzle Drill

-Read after hearing all Lesson 6 drills once through:

* You need only repeat the drills where you got two or more strikes.

* Make sure you know your major and minor chord spellings quickly. On our test in Lesson 7 you will not have long to answer, and you don't want to strike out!

LESSON 7:

-Read after listening to Lesson 7 once through:

* Yes, there are some children playing in the background of the Lightning Round at times. I've_left them here on our lesson to remind us that we want a practical hearing awareness-one that is able to tell intervals and tones regardless of outside influences. We're never concerned with blocking out distractions-just with enjoying the music we're listening to.

* lightning Rounds build up the ear's endurance.

LESSON 8:

-Read after listening to Lesson 8 once through:

* Music which has harmonies and chords built up in fifths is in "quintal harmony:'

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* On Relative Pitch Identification Drill U7:30]: Even if you know the tones with Perfect Pitch, you still have to identify the kind of interval and the correct spellings of tones-still a true test for Relative Pitch. Perfect Pitch tells us the actual pitch, but absolutely nothing about the relalionship of one pitch to another. When you are spelling intervals, use only the standard intervals and spellings we are working with. Correct spelling indicates proper perception of the relationship.

* When writing down intervals for drills, use abbreviations like PS for "perfect fifth" and m3 for "minor third." There's no time to write things completely out!

* Don't worry about memorizing the order of answers in drills and tests-just PASS them! Even when you know the answers your ear is becoming cultured.

* Avoid making the same spelling error twice in drills and tests. Just stop the CD or tape and write down your mistakes. Later, study them all so they don't trip you up again. When you make a sound error on drills with mixed intervals, stop and relisten. (On lightning Round drills, however, always listen the first time through at full speed without slopping or writing.l

LESSON 9:

-Read before exam:

* In this Exam its a good idea to backtrack the tape when you make mistakes and relisten to the tones (or stop a moment to write down and understand a spelling error). Then you may avoid getting that question wrong again! (On Lightning Round sections, however, always listen the first time through at full speed without stopping)

* Musicians with Perfect Pitch who also have good Universal Color Discrimination [see The Perfect Pitch Ear-Training SuperCourse] will be able to answer Part 2 of the synthesizer section using their Color Hearing. It's an excellent drill!

-Read after listening to Exam once through:

* The challenge of drills, tests and exams is I) to get the answer IN TIME, 2) for the ear not to be confused by what just came before, and 3) for the ear not to become tired too fast, but rather to keep up its listening endurance. When mistakes are made, however; we know that the ear is growing. As long as we end up passing perfectly, we know we have done our part for our ear and have derived maximum benefit from that particular drill or test.

-Read when you have completely passed entire exam:

* Note for musicians who already had Relative Pitch: Were you able to complete all Level One drills, tests and exam sections WITHOUT ERRORS? If not, this shows that some areas of weakness were there in your ear, and now-by going back to the basics-we have strengthened those areas.

* For everyone: Was this level easy for you? It may have been for most. This was the basic level-the fundamentals of ear-training. Now that you are familiar with the techniques, drills and testing procedures, we can really focus on fine tuning your ear. 'See how we do not rush the ear? We start with r.asy things to listen for which do not lax the ear much. Then we gradlUllly work up to all the more complicated sounds we will be studying (see directory of upcoming lessons). This method of sfarting easily and gradually culturing the ear is the way to thoroughly work your ear to make it POWERFUL You are now just stepping onto Established Relative Pitch, but we have just gotten our ears wet! There's much more to learn ...

101981-1999 by David Lucas Burge

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THE DAVID L. BURGE EAR- TRAINING LIBRARY for Higher Musical Awareness THE RELATIVE PITCH EAR-TRAINING COURSE

LEVEL 2 FOOTNOTES

LESSON 10:

- Read before starting Lesson:

* Be sure to back up the tape when mistakes are made to relisten. Let it be the last time you get that example wrong!

LESSON 11:

- Read before tests:

* Remember, you can still say your answer after r say "time," but you must say it before r say the answer. otherwise it is a strike.

- Read after passing tests:

* Don't worry about memorizing the order of answers in drills and tests-just PASS them! Even when you know the answers your ear is becoming cultured.

* You don't get much time to answer test questions-that's how fast you should know them!

- ~e~.4 afterpassing aU~!_i!ls: _ . .

* Note to advanced theorists: Proper voice leading may or may not occur during drill examples on this Course-the focus being the study at hand. Parallel fifths are not avoided, as they occur commonly in modern music;

* In future tapes we will listen a little to the Baroque style of music to hear inversions and how they are used in music. (Bach, which we will listen to later, is from the Baroque period.) These more traditional sounds are a key to help unlock any modern sounds-from rock to progressive styles. '

LESSON 12: * Don't forget to do your unlocking technique a few minutes daily.

LESSON 13:

- Read before tests on Lesson 13: * Remember that you can stop the tape and warm up a little before your sound tests-makes it easier than starting cold!

* With these larger intervals (M6) you may need to transpose actual pitch on tape up or down an octave in order to sing your interval correctly. If you wish. you need only sing the tone which is the correct answecyou are not required to sing the starting tone in sound tests.

- Read before starting drills: * When doing the Inversion Drill [30:35], listen for the keynote of each arpeggio (for example, A in an A major chord). This will help clue you in to the inversion and the spelling. Remember. however that it is the bottom tone which determines the inversion.

* Don't worry if you start to memorize the order of the drills. Rem em ber, your ear is being cultured even if you know the answers. Just PASS the drills!

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LESSON 14:

- Read after completion of Lesson:

* Make sure you also understand the spellings of the augmented fifth chord. If you made errors, see why. Remember, just take a regular major chord and raise the fifth a half step.

LESSON 15:

- Read before Relative Pitch Identification Drill [28:35]: * Spell m6 sounds as m6, not #5 for this drill. * Even if you know the tones with Perfect Pitch, you still have to identify the kind of interval and the COfrect spellings of tones-still a true test for Relative Pitch. Perfect Pitch teU us the actual pitch, but nothing about the relationship of one pitch to another. When you are spelling intervals, use the standard intervals we are working with. Correct spelling indicates proper perception and understanding of the relationship. * When taking drills and tests, use abbreviations like P5 for "perfect fifth" and m3 for "minor third." There's no time to write things out!

LESSON 16:

- Read before starting Moving Inversions Drill [22:45]: * When writing answers, use the following abbreviations: M = Major, m = minor, R = root position, '1 = first inversion, 2 = second inversion.

- Read after completing Lesson 16:

* Repeat these synthesizer drills in a week or two to see how you do then. You may be surprised to fmd that your ear has opened considerably in that time.

* Review any past tapes as needed to freshen up in preparation for exam.

* Make sure you know your spellings thoroughly and quickly so you may ace the upcoming spelling test first time (Part 1 of the Exam on Lesson 17). That way you may avoid having to sit through a boring

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spelling test again! (Careful-know your unusual spellings with double sharps and flats!) .

LESSON 17:

- Read before Part 1 of Exam:

* Remember, we listen all the way through each section of entire exam before going back to repeat sections a second time.

- Read before Part 2 of Exam: * Watch it! Drill is fairly fast. We are trying to stretch your ear and brain to work more quickly. Just repeat as needed. (Also: I spell all three tones when using chords, but it is a pass if you just write the two that you are seeking.)

- Read before Part 6: * I have spelled the answers' for descending arpeggios from bottom to top. However, it will not count as an error if you spell them in the order played. The main point to recognize is that the bottom tone determines the name of the inversion, which is not necessarily the first tone played.

- Read after completing Lesson 17: * When I say we don't make it easy, I mean that we are constantly requiring the ear to listen faster and clearer-it's not a superficial kind of drilling which allows us to stay in one place. You may in fact fmd the exercises fairly easy (though sometimes quite challenging), and we do climb the mountain at a COMFORTABLE pace and slope. If you always find drills very easy, then you are at the head of the class. But see if your friends can pass some of your drills and tests-they may be surprised at the speed of recognition which is required, whereas YOU ARE BECOMING USED TO IT!

* No homework for now!

THE DAVID L. BURGE EAR-TRAINING LIBRARY for Higher Musical Awareness

THE RELATIVE PITCH EAR-TRAINING COURSEtm

LEVEL 3· FOOTNOTES

LESSON 18:

--Read before Keynote Drill [18:35]:

""We have three kinds of keynotes: 1) keynotes of individual chords. as on our drills on this Lesson (Example: F# is the keynote of an F# minor chord); 2) keynote of an entire piece (Example: a piece is in the key of G major, so G is the keynote of the piece -- the whole piece gravitates towards the G, which is the "safest base," in the work); 3) keynotes of sections of music (music can temporarily change key, but after running to "first base," "second base," and "third base," a piece usually returns to its home key - to be discussed later).

""Another name for "keynote" is "tonal center." Another name for "key" is "tonality" (for instance:

F# major tonality or key of F# major).

"'On this upconug drill, I will sometimes play four or even five tones. It is not a bad mistake if you don't hear one or two of the tones -- what is important is that you hear the keynote and

the bottom tone (which tells the inversion), and that you can tell major and minor. Even a highly trained ear could easily miss some [ones when they are duplicated in a chord (like having two Ftl-'s). but they make a fun challenge for you. Feel free to backtrack the tape before I tell Hie answer if you want more time to listen. Hearing duplicated tones in a chord is further complicated by the fact that all tones in a chord are not (and should not) necessarily be played with equal force - welcome to the real musical world! It's extra credit when you get these "extra" tones.

""Follow the instructions step by step. Don't strain yourself by gelling ahead of the instructions.

Take it easy and enjoy! .

--Read after completion of Lesson: "'Diminished fifth chords can be called "flatted third/flatted

fifth" chords - perhaps a bit too wordy! .

"'Learn the minor sevenths well -- they are a vital part of countless chord structures. The m7 plays an important role in music harmony, as we shall soon hear.

LESSON 19:

-Read after completion of Lesson:

""It is very tempting to go up an octave and then down a half step to find the M7. Once again. do your best to learn the "real interval."

LESSON 20:

--Read after completion of Lesson:

""After you do your "Star Spangled Banner" assignment, check yourself by playing what you've written to see if you are correct.

LESSON 21:

-Read after completion of Lesson:

""Don't worry if you make mistakes and have to go back to do correction procedures. Error-free listening is everyone's goal, but most everyone ·makes a mistake now and then. Yet by striving for perfection. the mistakes become far less.

"'When we do upcoming Lightening Rounds with scale degrees you will find that your skill with intervals becomes even further stabilized, which will produce an even greater accuracy with your ear. The feeling of scale degrees is based on the feeling of intervals.

""It is not possible to study every inversion of every kind of chord, not just because we have

. .. ...

only 41 Lessons. but because it is not too practical unless you have time to go through thousands of chords which can be constructed. The key is to be good at your major and minor inversions so you can unlock more complicated chords.

LESSON ZZ:

--Read after completion of Lesson:

*Because a tenth is really the third of a chord. and a twelfth is like a fifth. we do not really have "tenth chords" or "twelfth chords." But ninths. elevenths. and thirteenths add new tones to the chord structure. and therefore create new chord sounds--which we will be listening to.

LESSON 23:

--Read before Relative Pitch Identification Drili [34:45]:

*This is your first complete Relative Pitch drill. because this is the first time we are using our full set of intervals. Use only standard spellings we have learned.

LESSON 24:

--Read after m9 Test:

"'If you have any difficulties, just work on your own until you feel comfortable with the m9.

--Read after Dominant Seventh Chords [13:50]:

* IMPORTANT: To notate a dominant seventh chord, just write a 7 -- the "dominant" is understood. Examples: an F# dominant seventh chord would be written like this: F#7. It is usually called just "F#seven." Whenever you hear or see "seven," it means "dominant seventh" UNLESS it is a MINOR seventh chord (F#m7) , or a MAJOR seventh chord (F#maj7), or some other kind of seventh chord is specified. Remember -- a "7" BY ITSELF means dominant seventh. Also remember: When you're talking about the chord. you can just say "seven" (like F#7; F sharp seven) and people will know you mean dominant seventh. [Note:

The same applies to dominant ninth chords (F#9), dominant eleventh chords (F#ll) and dominant thirteenth chords (F#13). Dominant is understood in these cases.]

--Read before Relative Pitch Identification Drills:

·Watch it -- you have to think fast on these! Spell tritones as aug4 (#4).

--Read when finished Lesson:

*When we do 9th chord Lightening Rounds, your ear will then be" able to put the "M9 and m9 sounds in a better context. This will stabilize these sounds for you.

LESSON 25:

--Read before Chords: Sound and Spelling [4:35]

*It's a good idea to review your chord spellings before starting this one - especially your augmented and diminished chords.

--Read after completion of Lesson:

*Note for singers: Your sight-singing now has the basis for becoming highly refined - all the interval sounds are in your ear! A good drill for you: Take an unfamiliar vocal score and slowly sing it. using your knowledge of intervals. Practice will produce more and more fluent and faster reading -- especially later when we have studied our "scale degrees."

*For everyone: Because you now own all your intervals, you now have a basic Relative Pitch! We just have to stabilize it, work with it, and refine it to make it Established ....

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the Relative Pitch Ear-Training SnperCourse

Virtuoso music instruction by David Lucas Burge

Level 4 Footnotes

I.ESSON 26: -Read after Talk 1:

* Although in theory we can have ANY kind of a chord (9th, 10th, 11th, etc), we would virtually always spell a "minor 10th" chord as a #9 chord, which we will listen to later.

* We never forct the ear, but we do challmgf the ear to keep pace with more rigorous Lightning Rounds. We practice these fast drills easily and effortlessly without straining. And we do them thoroughly.

* Now that you've etched your intervals into your ear in raw form. we will be using different ways of listening to refine them further-Lightning Rounds with chords. scale degrees, etc.-different angles for different stabilities. Everything is based on these intervals which you now own!

-Read after completion of lesson 26:

* Although I say that Figured Bass terms (used in classical theory training) are better left out of this Course. I do not mean to imply they have no value. The serious musician or music major who studies in great depth will gain quite an additional comprehension by this type of analysis. Our "Dominant 2" label comes from the Figured Bass system.

I.E_SSON 27:

-Read after listening to Lesson once through: * When requested to sing various degrees (the 7th, 5th, 3rd, and root) in the Dominant 7th Drill, Part 1 [30:501 you may have ended up singing them with your Relative Pitch even without actually hearing them in the chord This is great that you tound them on your own in this way, hut also go back and relisten so that you actually htar those tones where they are located in the chord.

* Include C~ major in your scale spellings.

.'~'- .. - _,...'-....,: .. , .-, .. ~-- .. -.--:- ...... -

LESSON 28:

-Read after completion of Lesson:

* The Circle of Fifths also tells you the orda. of notating sharps and flats on a musical staff when writing key signatures. In E major, for instance, you would notate the four sharps on the staff in this order: A, a, Q, ill.

* When you learn to think, hear, and spell in any key, transposition of songs into other keys is made much easier!

I.ESSON 29:

-Read before Lightning Rounds:

* If you have Perfect Pitch, name the spelling and the scale degrees on second Lightning Round [12:20].

-Read after "Perfect Pitch and Relative Pitch Working Together" [16:15]:

* Transposition skills and the ability to play by ear are the natural results of your Relative Pitch skills. The dearer you can hear the scale degrees (and later, chord degrees), and the quicker your speed recog-

1

nition of intervals and chords, the better you will be able to improvise, transpose, and play by ear. Training your ear is the foundation for all these skills-it is impossible to be even slightly proficient at these abilities without having a correspondingly developed EAR. Remember, however, that these skills are the natural OUTGROWfH of a good ear-they are natural, but you have to practice them. Example:

Strength, coordination, and a healthy body are necessary to be a good gymnast-but just because you have these things does not mean you are automatically good at gymnastics-you still have to PRACflCE handsprings, rolls, routines on rings, etc in order to gain proficiency in these areas. In the same way, a good ear does not mean that you can automatically transpose, play by ear, etc You still have to gain experience in these areas through practice. We say that Relative Pitch becomes a MASTER KEY to these abilities: once you have the key, you still have to unlock the doors of your choice. The EAR is always the key-without a good pitch foundation, there is no possibility to unlock many musical doors. With the MASfER KEY of Relative Pitch (and also the MASTER KEY of Perfect Pitch), huge avenues of musical skills becomeaccessible-but you still have to explore them yourself! Yet even without practice, a good ear can't help but improve all these areas of musicality. Both Perfect Pitch and Relative Pitch have the irrepressible tendencies to solidify and ripen all of our musical talents and experiences.

-Read after completion of Lesson:

* See keyboard reference chart for notations of 7th chords.

LESSON jO; -Read-before Lesson:

* Remember, start by saying the degrees of each tone I play-then later name the actual spellings after I say"name."

* Perfect Pitchers should continue to name scale degrees in addition to actual tones after I say"name" (added responsibilityO.

* Mastery of these drills will also speed your progress with your Color Hearing Technique exercises, becausqou areJistening from a new anglewhile naming. th.~~ correct pitches,

LESSON :11:

-Read before All Chords Lightning Round [22:35]:

* Watch it! It's easy to confuse diminished fifth chords with dominant seventh, and augmented fifth chords with m/M7 chords. Compare their structures and sounds and you'll see and hear why.

-Read after hearing Lesson once through:

* Remember: get through all drills PERFECfLY before passing Lesson.

LESSON .12:

-Read after completion of Lesson:

* See-all your work with intervals is now paying off. You can learn the chords at lightning speed with the foundation you have built!

* Don't confuse "dominant chord degrees" with dominant 7th chords. Dominant chord degree simply means a five chord (V chords=any chord built on the fifth degree of the scale. an the same way a tonic chord means any chord built on the first degree and a sub-dominant chord means any chord built on the fourth degree) A large percentage of the time a dominant chord (fifth degree choreD will be a dominant 7th chord structure (hence the similarity between their names), but often times a dominant chord will simply be major.

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LESSON :i:i: -Read before Exam:

* If you have Perfect Pitch, just write down what you hear, but in addition listen to the piece and hear it (and think it through) in terms of relationships.

-Read after Instructions for Exam Answers [21:30]: * Bach answers are on following pages.

* Did you think you heard an E and D together in the right hand? This was not a playing error, but rather an "aural illusion" on synthesizer which I noticed when listening to the master tape. The E in the left hand produces a high E overtone which is next to the D in the right hand, giving a feeling of two tones being played together in the right hand. Such aural illusions are common when using synthesizer due to overtones which. are so pronounced.

-Read after completion of Lesson:

* Speed Recognition might not seem at first like a "perception" (when we are discussing the Eight Essential Perceptions). Speed Recognition is just the highly refined ability to quickly hear and recognize intervals, chords, scale degrees, etc. You could have Speed Recognition with intervals, but not absolute pitch color. Or you could have Speed Recognition with scale degrees, but not some other factor. The reason I am calling Speed Recognition a "perception" is because it is DIFFERENT than the basic "slower" perceptions. For instance, recognizing intervals on your Lightning Rounds is quite different than listening to intervals slowly in order to analyze them. Speed Recognition applies to each of the other seven factors, but I think it's wise to list it as a separate consideration.

Cl981-1999 by David.Lucas Burge

3

INVENTION 8

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THE DAVID L. BURGE EAR-TRAINING LIBRARY for Higher Musical Awareness

THE RELATIVE PITCH EAR-TRAINING COURSEtm

LEVEL 5 FOOTNOTES

LESSON 34:

--Read after completion of Lesson:

"'Be sure to sit awhile and sing the chord centers before you go back to listen for them Just get the basic feel of the flow!

LESSON 35: --Read after Lesson:

·The suspended 4th chord usually does not contain a major third because the fourth replaces it, However, you can include the third with the fourth if you want.

LESSON 36:

-Read after completion of Lesson:

"'Major and minor sixth add nine chords are usually just called "major six/nine" and "minor six/nine" chords. ... As with major scales, melodies in a minor key tend to stay in me minor scale framework. with occasional deviations outside the scale which tend to come right back to the minor- scale degrees -- an important note for listening purposes.

LESSON 37:

-Read before Lightening Rounds: ·Remember to try each chord Lightening Round at full speed the first time. Then - for your homework - study the sounds by stopping and taking more time with me chords. Work the drills through until you can pass them at full speed perfectly. (Same

with upcoming Lessons) .

"'For Perfect Pitchers: Name the actual chord. for instance E9,F#6/9, etc. Use YOUI ear!

--Read after completion of Lesson:

·For additional chord confidence, pass chord Lightening Rounds perfectly and then come back to them in a week or so and reword them through again. It will add another good layer or two of listening!

ANSWERS TO MINOR SCALE SPELLINGS (assignment from Lesson 36)

Remember: To find out the relative minor for any major key, just go down a minor third.

Here are all the major keys. with their relative minor keys and minor scale spellings. Look at the answers to the first one or two. If you do not get them correct. go back and review the talks on minor scales on Lesson 36, then try again. When you make any errors, make sure you understand why the following spellings are correct (review Lesson 36 as necessary). Special note: Remember to use your natural sign when necessary. When do you need it? (Review talks on Lesson 36.)

H = HARMONIC MlNOR SCALE M = MELODIC MINOR SCALE

C MAJORIA MINOR:

Am (H) = A, B, C, D. E, F. G#, A

(M) = A, B. C, D, E, F#, G#, A, G, F, E, D, C, B, A

....

a1 ·(t.

LESSON 38:

--Read before actually starting minor scale degree drill [9: 15]:

*Even though we say "lowered fifth degree," we still write it as b5. "Raised fourth" is #4. Same with "lowered third degree" (b3), etc.

"'Remember to choose between b5 and #4, and between b2 and #1 when you hear them. Choose the scale degree so it ends up in "stepwise motion." (Note: Stepwise labels do not have to be observed when going back and forth between b3 and 3, b6 and 6, and b7 and 7, because we are just moving freely between minor to major degrees.)

--Read before 9th and 6th Chords Lightening Round [22:05]:

*Listening Technique: To distinguish "add 9" chords from other 9th chords. listen for the missing 7th.

--Read before 11th Chords Lightening Round (36:35):

* An "add 11" chord could also be called a suspended 4th chord -- it depends on how you want to look at it. But whenever a seventh is also present, the chord is definitely some kind of 11th chord.

"'Be sure you always include a minor third in your mIl chords -- otherwise . you will have a domll sound. You can eliminate the third in the domll (and other llths as well), but you must have the minor third in a mil chord -- otherwise it isn't minor! (Be careful when listening as well! Listen for the third. You don't have to worn in on the third. Just sense whether or not the chord has a minor quality -- that's the way to unlock the third with speed recognition.)

LESSON 39:

--Read while working on cadences:

*Of course, musical phrases do not have to end with the cadences (final progressions) that we are studying. The composer is free to end phrases with ANY chords as he or she chooses. But these chord formulas are common, and when you become familiar with them by ear they wiU significantly improve your Relative Pitch. They are like sounds in a foreign language which you learn to put together to understand as one word.

--Read before drill on chord progressions [26:35):

*Do not start this drill until you have listened enough to the explanations of all the cadences and other items on this Lesson and have also experimented with their sounds by playing them for some time.

*Listen carefully to five chords to determine if they are just plain "five" chords, or "fiveseven" chords -- V7 (a fifth degree chord that is also a dominant seventh).

*When writing your chord degree answers (progressions) on paper, use Roman Numerals - see your keyboard chart.

--Read while studying 13th chords:

*Remember. even though the chords we are listening to have the 13th on top. that 13th could be voiced elsewhere within the chord, with any other tone on lap.

LESSON 40:

--Read after "How to Label Any Chord" [1:00]:

"'The obscure chords which I mentioned would be notated like this:

Chord: C. F#, B Notation: C/#4M7 (Put / after C to make sure chord is read as C #4

rather than C# 4.)

Chord: C, F, Db Notation: C4b9

Just spell out the intervals of the chord from the root if you cannot classify a chord any other way.

Here are some other examples. What would call these chords'? Refer to your reference chart if you need help with notation. (Write out answers in space provided, then check answers

-

below. Don't worry if you make mistakes-just understand the answers. Tum off tape and spend some time here without rushing--these are BRAIN TEASERS!)

WRITE ANSWERS HERE Dmaj7

Example: D, F#, A, C# 1.) C, E, G, Bb, Db. A 2.) C, E, G#, Bb, D

3.) G, Bb, D, F#. A

4.) A. C#, Eb, G. B#

5.} C, Gb, B

Unscramble and label: 6.} Eb, Bbb, C, Gb

7.} E, B. D. G#, C

8.} F#, D, A, E#

REMEMBER, CHORD LABELING IS NOT A STRICT SCIENCE! Do not try to pin down exact and precise labels for all chords, and do not worry about small variations or inconsistencies. Use your own imagination and judgment!

ANSWERS:

I.} C13b9, C thirteen FJat Nine (Dominant 13 Flat Nine Chord)

2.} C9#5, C Augmented Dominant Ninth (C Nine Sharp Five Chord) 3.) Gm/M9, G Minor/Major Ninth

4.) A 7#9b5, A Seven Sharp Nine Flat Five [7 means Dominant here] 5.) Cb5M7, C Hat Five Major Seven

6.) Cdim7, C Diminished Seven

7.) E7b13, E Seven Flat Thirteenth [7 means Dominant here] 8.) Dadd#9, D Add Sharp Nine

See, chord labeling is really not so hard, but it can be a little tricky. Just use your sense of logic, but don't try to be TOO intellectual. I think you have the hang of it.

-Read before drills [8:50]:

*Perfect Pitchers name tones plus name intervals involved--it will give you something extra to dol .

*For everyone: Be sure to spell chords from the bottom tone in "stepwise" fashion. Remember--two adjacent tones should be spelled with two different letter names whenever possible. Also, whenever possible, avoid spellings which result in theoretical intervals. The spellings given in drills are the most logical for each example. If you spell a tone enharmonicaUy t figure out why I chose a different spelling of that tone. (Also: Take your time and listen to each example as much as you like before hearing answer.)

LESSON 41:

--Read after Exam answers:

*Also: There is a short melody in the right hand that goes from E, down to B, and up to C. This occurs during the Fmaj9 chord.

--

Am (H) =A, B, C, D, E. F, GI A

(M) =A, B, C. D. E. F, Gt A, G, F, E, D, C, B. A ClMAJORJAiMINOR:

AIm (H) = At BI, Cf, DJ, EI, Ft Gx, At

(M) = At BI. ct. DI. EI. Px, Gx, At, GI. PI. EI, Dt q, BI. AI

D~ MAJOR! B~ MINOR:

B~m (H) = B~, C. D~. E~, F, G~. A~, B~

(M) = B~. C, 01.. £1,. F, G~. A~~. B~. Al., G~, F, E~. Db. c, B~

D MAJOR! B MINOR:

Bm (H) = B, CI. D, E, Fl. G, AI, B

(M) = B, el. D. E, FI. GI, AI, B, A. G, FI. E, D, q, B

£I, MAJOR I e MINOR: .

em (H) = C, D. £1" F. G, A~. B~, c

(M) = C, D, £1" F, G. A~, B_, C. B~, A~, G. F. El., D, C

E MAJOR! CI MINOR:

elm (H) = et DI. E, FI, G~, A. BI, e.

(M) = q, DI. E, FI, GI, AI, BI. q, B, A. G" FI, E. DI. q

F MAJOR! D MINOR:

Dm (H) = D, E, F. G, A, B~, CI, D

(M) = D, E, F. G. A. B_. et D, C, Bb, A, G. F, E, D

FI MAJOR I DI MINOR:

DIm (H) = DI. Et PI. GR, AI, B, Cx, D'

(M) = DI, EI. PI. CI. AI. Bt, Cx, ot ct, B, AI. q. Fl. EI, DI

or' -. :.- ~ - '- .;~~~~...:.~~ ,!!-"l/;~~;:---_ ~ _" #

§. G~ MAJOR I £l. MINOR:

E~m (H) = E~, F, G~, ~, B~, C~, D_, E~

(M) = E~, r, G~, Ab. B~. e~, D~, El., D~, o, Bb. Al., G~, F, E~

G MAJOR! E MINOR:

Em (H) = E. FI. G. A. B. c, 01, E

(M) = E, Fl. G, A, B, CI. DI, E, D, C, B, A, G, FI, E

AI. MAJOR I F MINOR:

Fm (H) = F, G. Al., B~, C, ~, E_. F

(M) = F, G, Al., B~, C, o~, E~, F, £1" Db, C, Bb, AI.. G, F

A MAJOR' FI MINOR:

Fjm (H) = FI. GI, A, B, ct D. EI. FI

(M) = Fl. GI, A, B, CI, DI, EJ. FI, E, D, q, B, A, G_, FI

Bb MAJOR I G MINOR:

Gm (H) = G, A, B~. C, D, E~, FI, G

(M) = G, A, m. c, D. E~, FI, G, P, s, D, e, B~. A. G

B MAJOR! GlMINOR:

Glm (H) = GI, AI. B, q, Dt E, Fx, G,

(M) = GI. AI. B, q, 01, EI, Fx. GI, F" E, D~, ct. B, A#, GI

o MAJOR I Ab MINOR:

A~m (H) =: A~, Bb, Q, D~, El., ~, Gq, N,

(M) = AJ., B~, o, D~, E~, F~, Gq, Ab. Gb, ~, E~, m, C~. B~, AI.

~.

I

,~--. _.,._ ----- --- -

TH.E DAVID L. BURGE EAR·TRAINING LIBRARY for Higher Musical Awareness THE RELATIVE PITCH EAR-TRAINING COURSE™

Remember: The knowledge of these items is only part of the development of RELATIVE PITCH. More important is the ability to recognize all these musical structures BY EAR! When the mind catalogs the sounds that the ear hears, then we have established RELATIVE PITCH.

ef Of F. Gf A.

O~H m.Aba~

8 C 0 E F G A
e~ af F~ Ef SIGNS: INTERVALS: SCALE DEGREES:
- P1 = Perfect Unison 1
= Sharp m2 = Minor Second ~2
M2 - Major Second 2
b -
= Flat m3 MinorThird ~3
-
~ Natural M3 = Major Third 3
= P4 Perfect Fourth 4
=
x = Double Sharp aug4, +4 = Augmented Fourth #4 (Sharp Four)
- _. ~.- ... ~ . . - ·dimS, -S = Diminished Fifth - .. . ~S (Flat Five)
bb = Double Flat P5 = Perfect Fifth . 5
m6 = Minor Sixth be
M6 - Major Sixth 6
m7 = Minor Seventh b7
M7 = Major Seventh 7
P8 = Perfect Octave 8
INTERVAL NOTATION: aug8 = Augmented Octave ##8
m9 = Minor Ninth ~9
M = Major M9 = Major Ninth 9
m = Minor P11 = Perfect Eleventh 11
P - Perfect aug11 = Augmented Eleventh ##11 (Sharp Eleven)
aug, + = Augmented m13 = Minor Thirteenth b13
dim, - = Diminished M13· = Major Thirteenth 13 CHORD DEGREES:

I = One Chord (Tonic)

II = Two Chord

III - Three Chord

IV = Four Chord (Subdorninant)

V = Five Chord (Dominant)

V7 = Five-Seven Chord (Dominant Seventh Five Chord)

VI = Six Chord

bVI = Lowered Six Chord VII = Seven Chord

bVn = Lowered Seven Chord

Reference chart for The Relative Pitch Ear-Training Course'~ ©1986, 1992 by David L Burge. Audio cassettes distributed by American Educational Music Publications, Inc, Music Resources Building, 1106 E. Burlington, Fairfield. IA 52556. FAX· (515) 472-2700; Tel.: (515) 472-3100

ICHORDSI

SYMBOL M,maj m aug, +

. dim,O 7

M7, maj7 m7 n5 7#5

m/M7., m/maj7 m7b5

dim7 sus,sus4 msus, msus4 6 [or M6l rn6

6/9 [or] 6add9 m6/9 [or] m6add9 add9

madd9 M9, maj9 m9

9

7#9 .n9 m11

11 7#11 maj#11 [or] maj7#111 maj13 m13

13

NAME

Major

Minor

Augmented Diminished Dominant Seventh Major Seventh Minor Seventh

Dominant Seventh Flat Five Augmented Dominant Seventh, or Dominant Seventh Sharp Five Minor/Major Seventh

Diminished Minor Seventh, or Minor Seventh Flat Five, or

Half Diminished Seventh Diminished Seventh

Suspended, Suspended Fourth

Minor Suspended, Minor Suspended Fourth Sixth [or Major Sixth]

Minor Sixth

Six/Nine, or

Sixth Add Ninth

Minor Six/Nine, or

Minor Sixth Add Ninth

Add Nine

Minor Add Nine

Major Ninth

Minor Ninth

Dominant Ninth Dominant Sharp Nine Dominant Flat Nine Minor Eleventh Dominant Eleventh Dominant Sharp Eleven Major Sharp Eleven, or

Major Seventh Sharp Eleventh Major Thirteenth

Minor Thirteenth

Dominant Thirteenth

FORMULA 1,3,5

. 1, b3, 5

. 1,3, liS 1,b3,b5 1,3,5, b7 1,3,5,7 1, b3, 5, b7 1,3, ss, b7

, 1,3, #15, b 7

1, b3, 5, 7 1, sa b5, b7

1,b3,b5,bb7

1, 4, 5 [3 optional] 1, b3,4,5

1,3,5,6

1, b3, 5, 6

-1,3,5,6,9

1,b3,5,6,9

1,3,5,9 1,b3,5,9 1,3,5,7,9 1, b3, 5, b 7, 9 1,3,5, b7,9 1, 3, 5, b7, #19 1,3,5, b7, b9

1, b3, 5, b7, (9 op), 11

1, (3 op), 5, b 7, (9 op), 11 1, (3 op), 5, b7, (9 op), #Iii 1, (3 op), 5, 7, (9 op), #11

1, (3 op), 5, 7, (9 op), (11 op),13 1, b3, 5, b7, (9 op), (11 op), 13

1, (3 op), 5, b 7, (9 op), (11 op), 13

EXAMPLE

C# (major is understood) C#m

C#aug, CII#5, C# + C#dim,C#o

C#7 (dominant understood) C#M7, C#lmaj7

Clm7

C#7b5

C#7#5

e#m/M7, C#m/maj7 C#m7b5

C#dim7

C#sus, C#sus4 C#msus, C#msus4 C#6

C#m6

CI619

C#6add9

Clm619

C#m6add9

C#add9

Cflmadd9

C#M9, C#maj9 C#m9

C#9

C#7#9

Cfl7b9

Cllm11

C#11

C#7#11

C#majl11 C#maj7#11 C#maj13

C#m13

C#13