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1. Learn how the program works Navigation Change Topic Quit Introduction Were The trace line of the arrow will show the cumulated error So if you miss the tolerance goal the arrow will move away from the centerline Therefore your goal is to always stay within the given tolerance Listening Ear Trainer 69 Introductory Lessons listening ear trainer Bull s eye 50 cents Scores introduction Sing Exercise Overview PItchhck D a Notes Moved 0 Tempo 60 e rJ J M ae j PiE A To see the deviation from the target pitch you have to refer to the pitch line on the staff Learn how the program works Navigation To see the deviation of the target pitch you must refer to the pitch line on the staff Listening Ear Trainer 70 Introductory Lessons listening ear trainer Bull s eye 50 cents ocores fee mitiste S GT Notes Moved 1 Tempo 60 Navigation Change Topic Quit Introduction Here is a sample of a pitch which started too low and then went up towards the end Note the difference of the arrow trace line and the pitch line Keep in mind that the pitch line is shown in training mode only The arrow trace line is always shown however it is only shown from the beginning if you are in trainings mode In test mode the arrow will always move in a straight line for the first few milliseconds b
2. 9 Clock Source Defa Configure Speakers Audio Input Audio Output Source Source Default Format 44100 0Hz Ich l6bit Format 44100 0Hz 2ch 16bit Ch Volume Slider Value dB Mute Thru Ch Volume Slider Value dB Mute M n a nid M Via nia b 4 err 078 21 00 l e 090 3 00 2 rr 90l 3 00 Microphone Input level too low distortion or audio device not supported Windows In the control panel choose Sounds and Audio Devices Click on the Audio tab Under Sound recording set the volume for the microphone to the maximum Listening Ear Trainer 184 FAQ li Recording Control Options Help CD Audio Line In Microphone Balance Balance Balance gt gt 0 3 Ob Volume Volume Volume LJ Select Select Select Intel r Integrated Audio Also make sure that the Format is set to 44 100 kHz and 16 Bit Mono Make a Test Recording with the Sound Recorder Click On Start gt All Programs gt Accessories gt Entertainment gt Sound Recorder In the Sound Recorder under the File menu click on Properties Under Choose from select Recording formats and click Convert Now Set the Format to PCM and select 44 100 kHz 16 Bit Mono Listening Ear Trainer 185 FAQ Camco Cm seen of Mnnmnwe dae l Properties for Sound Details on Copyr
3. Change Topic PreviousPage NextPas Quit Introduction However since the G4 already exists as an overtone we can now hear the Perfect Fourth interval characteristic between G4 and CS By dividing the fundamental wave length by five we get the interval characteristic between C5 and E5 a Major Third Listening Ear Trainer 154 Inside our Methods Introduction Visualize the Overtone Series Interval Overtone Series Wl 4 5 Relative Amplitude P1 P8 1 5 We get the interval characteristic J Uy between C5 and E5 a Major Third Frequency 0 131 262 392 523 654 785 916 1046 1177 1308 f 2f 3f at 5f 6f 7f at 9f 10f c3 C4 G4 C5 E5 G4 bBS C6 DG EG nearest note Proposed Learning Order f Interval Characteristics Navigation Change Topic PreviousPage NextPage Quit Introduction If we take a closer look at our interval overtone series we see that we also can hear the interval of a Major Sixth between G4 and E5 Introduction Visualize the Overtone Series Interval Overtone Series Relative Amplitude between G4 and E5 Frequency 0 131 262 392 523 654 785 916 1046 1177 1308 f 2f 3f af 5f 6f 7 af of 10f c3 C4 G4 C5 E5 G4 bBS C6 D6 E6 nearest note Proposed Learning Order f Interval Characteristics Navigation Listening Ear Trainer 155 Inside our Methods Now we think that the next forthcoming overtones are already so we
4. lesser pe undecimal 3 ue neutral tridecimal diatonic perfect minor supermajor lesser second 2 3 tone semitone octave fourth third second tone mMm me See rc rc MS AAA Ri be VO a perfect major subminor greater greater greater septimal fifth third third tone undecimal tridecimal diatonic neutral 2 3 tone semitone second Harmonic series as musical notation with intervals between harmonics labeled Blue notes differ most a significantly from equal temperament You can listen to A2 110 Hz and 15 of its partials Source Wikipedia Harmonic series music Now some review points on overtones Every fundamental note has the same relative overtones The harmonic series is derived from integer divisions The first point is important because it emphasizes the similarities between intervals For example the second overtone of any pitch is always a Perfect Octave away and the third overtone is always a Perfect Fifth away Listening Ear Trainer 110 Exercises Vibrational modes of an ideal string dividing the string length into integer divisions producing harmonic partials f 2f 3f 4f etc where f means fundamental frequency Source Wikipedia The second point shows the order and therefore the magnitude of the overtones Larger integer values will produce more complex waveforms and thus the likelihood that they emerge is smaller Therefore they are much less powerf
5. Recognize the Cs For this exercise only the pitches for C2 C3 C4 C5 and C6 are selected When you start the exercise the window will look like this Listening Ear Trainer 73 Introductory Lessons listening ear trainer introduction Overview Exercise Recognize the Note Total Points Click the Note you heard Tempo 60 3 H ga aT L Elapsed Time This counter tells you how many times you have hit the note Learn how the program works Navigation Change Topic i j Quit Introduction You will hear one of the sounds randomly selected and question marks will be displayed on the staff On the right side all notes appear in boxes in the range of C2 to C6 Any unselected notes are covered by a red rectangle but they all are shown in order to give you a better sense of where they are positioned One of the goals is to improve your placement of pitches in the overall pitch range as orientations anchor points help you sort out relative pitch errors Thus if you sing other notes with relative pitch that is not perfect to the cent your notes may drift away over time If you have drifted away from the perfect pitches these anchor pitches will trigger an alert if you cross them so you can take correcting actions To measure your progress each note box displays a counter in the right upper corner To strengthen the recognition process each note must be answered 7 times correctly Similar to the Lea
6. Rehear Answer frame Remember you can choose to rehear the intervals ascending or descending melodically or harmonically Each interval button contains a counter in the upper right corner which shows you how many times you have correctly answered an interval in a row without making an error This counter refers also to the pools mentioned earlier in the Exercises Relative Pitch chapter The counter stops increasing after 7 correct responses so the maximum points you can reach for this exercise is 14 the 2 interval exercises P1 and P8 multiplied by 7 The exercise continues indefinitely so even when you have reached the maximum points and finished the exercises you can keep testing yourself The next time you start the exercise you start with the same score as when you finished last time You can also reset all counts to zero by pressing the button Reset Counts which will return you to the very beginning of the exercise for all intervals Every exercise has its own counter so Reset Counts will only reset the scores for that particular exercise You also have a choice of listening to the beginning of a familiar or memorable song with Listening Ear Trainer 121 Exercises intervals in ascending or descending order to connect the song and its opening interval s name ANIA listening ear trainer introduction Interval Exercise Overview Feedback Samplesong ii CTS Click the Interval you heard 24
7. The Singing Funnel Method D 8 A4 Get acquainted with the Recognition Process Absolute Pitch Produce Lesson 1 480 cents Lesson 7 220 cents Lesson 13 120 cents Lesson 19 75 cents Lesson 25 50 cents Lesson 31 33 cents Lesson 37 25 cents Lesson 43 20 cents Lesson 49 16 cents Lesson 55 12 cents Lesson 61 7 cents so that with the imagination alone you can hear the sound with your inner ear to a desired precision of 50 cents Recognize The association of pitches to solmization syllables Do Re Mi speeds up the calibration process of the ear Copyriht 2013 by www AlgorithmsAndDatastructures com Using Muscle Memory to Immitate and Recognize Pitch Navigation Change Topic Quit Introduction Duit However depending on your musical background it may still take a year or more of daily training until you have enough fine control of your vocal cord muscles so that with the imagination alone you can hear the sound with your inner ear to a desired precision of 50 cents Disappointed about the time frame needed Remember to learn a foreign language depending on your age and other language experience may take even longer to acquire a basic language certificate To accelerate the learning process we suggest that you use the Octave Anchor Pitches method at the same time Listening Ear Trainer 144 Inside our Methods Inside the Octave Anchor Pitches Method The Octave
8. Version Listening Ear Trainer version 1 00 Windows 2013 01 19 09 33 04 Control Please wait Initializing Please wait while I load pictures and sounds The first time you start the application the following dialog box appears Listening Ear Trainer 36 First Time Use listening ear trainer New User Set Teacher Admin Password the default Password is NoPassword hit Return to keep it Finish Initialisation bo quit Programm T First Time Use Finish installation Type your Name and press lt Return gt or hit lt Escape gt First you must enter a User Name The name may consist of a First and Last Name separated by a blank space or a comma Only American Standard Characters are allowed If you want a password other than the default Admin Password NoPassword change it Please be aware that the password is case sensitive The password must have at least 5 characters If you forget or lose your password you must reinstall the application in order to be able to delete users If you want to delete a user you must enter the Admin Password and click Authorize Then click the Del Button next to the particular user you want to delete When you are done click Go to continue Clicking Exit will leave the program in its current state so it will ask you again for the name as when first opened Listening Ear Trainer 37 User Selection Select User In order to collect statistics for
9. 2 0000 Diminished octave V2 l Augmented sixth A6 V2 10 2 1 7818 Diminished seventh d7 9 2 Pinas T BY ses Augmented fifth AS OF a eons TT BY Diminished sixth 7 12 pee cae Augmented fourth A4 6 Diminished fifth d5 V2 1 4142 Augmented third A3 TEN pe E Yas 4 Major Diminished fourth d4 aN third V2 1 2599 3 Minor Augmented second A2 ORY third V2 1 1892 2 Major Diminished third d3 a second V2 1 1225 l Minor Augmented unison Al Tob second V2 1 0595 Perfect Diminished second d2 oop unison V2 1 0000 Learn to recognize Intervals by identifying similarities m m m m M7 7 M6 6 P5 TT P4 M3 3 M2 2 P1 In contrast to recognizing individual pitches recognizing intervals demands that you learn to recognize similarities between intervals starting from different notes This may sound more complicated than recognizing individual pitches but the brain learns to gather important information in listening to music Thus it can recognize the melody of a song independently of the starting pitch 1 e you can sing it no matter the starting pitch For example you will recognize the melody of Silent Night whether it s sung by children in high register or by a men s choir in a low one and no matter what key although certain keys will always be difficult if they fall outside the voice s comfort zone Because relative pitch is a more necessary function in daily life Liste
10. During the installation you must agree to the terms or discard the downloaded files Double click the installer to begin Before the Welcome screen appears a minute or so may elapse The installer will guide you through the installation process HAN Installer If you used the defaults during the installation Listening Ear Trainer should have been installed in your applications Folder Uninstalling Listening Ear Trainer In the Finder click on Applications and drag the Icon for Listening Ear Trainer to the Trash Listening Ear Trainer 23 Installation Installation Windows Requirements Before you begin you may want to make sure that your computer has enough RAM to power the program To have a good performance an Intel core Duo with 1 GB of RAM and adequate graphic card is required The program has been tested on Windows XP Vista and Windows 7 You also need QuickTime which is downloadable You must have an appropriate microphone connected to your computer Check the relevant manuals on how to connect a microphone to your computer Some PC s do not have a microphone input in which case you must use additional hardware such as a computer compatible USB device capable of handling microphone inputs Important the line in is not the same as a microphone input If you do not have a microphone input you will need a pre amplifier Getting the installation file The first step 1s to download the compressed installation file
11. In this case just repeat the previous successful lesson Even if you miss the goal in the first repetition attempt you should see that you can reach that level again much faster now This knowledge about your learning process we hope convinces you to go forward with the method We wish you happy progressing with our methods Absolute Pitch Study Please send us your timeline statistics after 100 training days so we can improve our methods even further For current information about our AP study and instruction how to submit your timeline statistics please visit www listening ear trainer com AP Study html Listening Ear Trainer 170 Inside our Methods We hope to get sufficient feedback to establish the concept of muscle memory and the effectiveness of our methods to acquire absolute pitch Thank you in advance for any feedback you may send us Listening Ear Trainer 171 How do we remember sounds and pitches How do we remember sounds and pitches The following explanation is not based on scientific research since science 1s still years away from understanding how the brain stores information The explanations assume a simple model that might be compared to a computer system one with a short and long term memory Sound Memory Introduction While it is possible to remember complex sounds such as a specific noise we are unable to reproduce them vocally it is much easier to remember sounds we associate with meaning
12. and increase the range to four octaves In this way we get a simple two note system the system consists of only a low note and a high note Listening Ear Trainer 50 Introductory Lessons listening ear trainer Introduction You have absolute pitch Actually it is a one tone equal temperament spanning four octaves Learn how the program works Navigation Change Topic PreviousPage NextPag Quit Introduction _ The following test where you have to identify the note you hear you will pass with ease The system is so simple that you cannot fail the test If you cannot distinguish a low C2 the low note in our two note system from a high C6 the high note in our system then we must assume that a physical handicap exists However in real life the pitches of the notes are not always played correctly The pitches may vary a few cents and will still be identified correctly In our system with only two notes the pitches may be off a whole octave and can still be assigned the correct note either to the low note or to the high note Therefore we continue by playing a note that is off by an octave to our available two notes Your task is to click the button you believe you should assign the sounded off note pitch to LowNote or HighNote Listening Ear Trainer 51 Introductory Lessons listening ear trainer Introduction Far apart pitches three octaves VS one octave Kj n gt Learn how the program
13. little higher pitched than the middle pitch would be assigned to the upper of the two surrounding notes Listening Ear Trainer 54 Introductory Lessons listening ear trainer E B Introduction Difficulty to assign a a pitch to a note name In other words the sound falls in the yellow band which delimits the acceptable range of the note C 4 h po I CP LO C C 4 C4 Pitch sounded Between C4 and C 4 Is this Pitch C4 or C 4 Learn how the program works Navigation Change Topic eS ee Quit Introduction neok If you have a good ear and you are not sure if the pitch belongs to the higher or lower note you would answer that the pitch is in between the two notes So we might introduce in between notes which would allow identifying a pitch more precisely since we would now have more sounds or notes to choose from But this would only shift the problem to When do you assign a note to an in between note instead of a note on the scale Listening Ear Trainer 55 Introductory Lessons listening ear trainer TB Introduction Difficulty to assign a a pitch to a note name Pitch line between C4 and C 4 but to the new note in between C and C Pitch sounded Be tween C4 and be Is this pitch C4 or the new tween C4 and C 4 between C4 and C 4 Navigation Change Topic Quit Introduction So the task to assign a pitch to a note is the same whether you have small bands
14. msi In your browser go to www Listening Ear Tainer com and download the actual version under the download tab Warning The file has about 120 MB this will take about 1 4 hour on a low speed DSL line Installation After clicking the download link the following window opens File Download Security Warning Do you want to run or saye this file Name ListeningMusicTeacher msi Type Windows Installer Package 102MB From www algorithmsanddatastructures com While files from the Internet can be useful this file type can potentially harm your computer If you do not trust the source do not run or save this software What s the risk Click Run The actual download starts Listening Ear Trainer 24 Installation 65 of ListeningMusic leacher msi from orithmsa a mi ListeningMusicTeacher msi from orithmsanddatastructures com MSS SSSR SS es ees eeeee Estimated time left 1 min 46 sec 65 3MB of 102MB copied Download to Temporary Folder Transfer rate 355KB Sec SmartScreen Filter checked this download and did not report any threats Report an unsafe download When the download finishes the following Security Warning appears Internet Explorer Security Warning Do you want to run this software Name ListeningMusicTeacher msi Publisher AlgorithmsAndDatastructures F Rudin More options While Files From the Internet can be useful this file type can potentially harm your computer Onl
15. Anchor Pitches method supports the Singing Funnel method in the way that it will help you to orientate yourself better in the pitch realm Introduction The Anchor Pitches Method Explained The Octave Anchor Pitches Method Initial Anchor Pitches O lj C s Learn to differentiate tered continue Anyway your voice range will most likely not span 4 octaves Zs GER Add Strongest Overtone 7 a e D G s The first overtone to add to your repertoire of the C s is a perfect fifth The G Followed by the inverted interval the perfect fourth The F It is advised that you learn to differentiate the strong related pitches first Other notes may seem more distinct and easier to separate However it will be more confusing later since more relationships to other notes exist and the specific characteristics start to blur Copyriht 2013 by www AlgorithmsAndDatastructures com Building a Grid to Sort Out Pitches Navigation Change Topic Quit Introduction Anyway your voice range will most likely not span 4 octaves So you need another method to learn to recognize the pitches outside your voice range As the name implies in this method the characteristics of a particular note is presented in all octaves First you learn to distinguish the Cs by the octave Since there are only five notes C2 C3 C4 C5 and C6 it should be fairly easy to distinguish the notes Thus giving you anchor pitches that are a
16. F5 If you invert the interval of C to G a perfect fifth you get a perfect fourth or F That means the Fs are also present as overtones when you hear a G To avoid getting confused you should master the previous lesson before you continue with this lesson Adding the Es The pitch E is part of a C Major triad Thus you will often hear E together with C and G You should train yourself to differentiate these notes A solid recognition technique for the previous notes 1s necessary in order to hear the distinguishing character of E If your brain begins looking for methods to better remember the pitches of notes do not hesitate to use the Singing Funnel method If your range does not allow you to sing a note comfortably sing the note an octave lower or higher Since the octave is the strongest overtone there are enough similarities to find the relation between the pitches Adding the As Next we add the As to expand our recognition exercises in the upper part of the C Major scale Listening Ear Trainer 9 Exercises Since by now you can recognize the other lower notes the As should have enough differentiating characteristics to be recognizable Adding the Ds The Ds fill the lower gap of the C Major scale Adding the Bs The Bs completes our C Major scale Recognize the Note The Recognize the Note exercise enables all notes so that notes outside the C Major scale can be learned We recommend that you use the training mode to exclud
17. Frequencies and semitones Intervals can also be expressed as the distance between two pitches in semitones A semitone is the smallest unit used in twelve tone equal temperament music notation Since a semitone from the low Cl to the low Cl sharp is the same as a semitone from C6 to C6 sharp the frequency of the involved pitches is meaningless For the technically interested we show how you can calculate the number of semitones from the frequencies of the notes Listening Ear Trainer 95 Exercises AAC li E 7 m istening ear trainer Introduction The Semitone or the half step 698 46 Hz 659 26 Hz 622 25 Hz 587 33 Hz 554 37 Hz 523 25 Hz 493 88 Hz 466 16 Hz 440 00 HZ 415 30 Hz 392 00 Hz 369 99 Hz 349 23 Hz Eaxample for the notes A and D 329 63 Hz m 311 13 Hz 440 Hz 293 67 Hz 1 4983071 m Nl 293 67 HZ log 1 4983071 0 1756008 277 18 Hz 261 63 Hz 0 1756008 0 0250858 7 Using semitones to describe the distance Navigation Listening Ear Trainer 96 Exercises Interval names Since a pitch played an octave higher has such a strong relationship to its root pitch octaves are sometimes neglected in musical discussions 698 46 Hz 659 26 Hz 622 25 Hz 587 33 Hz 554 37 Hz 523 25 Hz 493 88 Hz 466 16 Hz 440 00 Hz 415 30 Hz 392 00 Hz 369 99 Hz 349 23 Hz 329 63 Hz 311 13 Hz 293 67 Hz 277 18 Hz 261 63 Hz How to determine the musical in
18. It helps them to stay in tune with others even if a piece is played on a tuning system other than equal temperament Still one should try to develop a feeling for where the pitches are individually or absolutely without relation to other pitches Otherwise if you construct everything in terms of relative pitch and your relative pitch is not flawless you may drift away from the key or end up a semitone or more off key and not know it To ensure keeping on key and tracking your progress you should do both exercise types the Singing Funnel method and the Octave Anchor Pitches method Many studies show that the easiest way to acquire absolute pitch is during childhood The Singing Funnel method encourages your brain to revert to a mode similar to when you first learned to utter sounds During this period you also learned to control your vocal cords by listening to your efforts The visual feedback of the Singing Funnel method makes it simple to regain that awareness and control As a last tip use Fixed Do solf ge syllables to associate sounds to pitch names Fixed Do is a naming system that assigns one syllable to a pitch used for any music or exercise whereas in the Movable Do system the syllables move to correspond to the scale degrees the fundamental note of the key being 1 of whichever key the piece or exercise is in For singing warm ups and scales use scale degree numbers c 2 3 4 5 6 A 8 These numbers more cl
19. P4 Augmented third A3 Play heip info 6 EN Ea Tritone TT Play helpinto Augmented fourth A4 7 Perfect fifth P5 Diminished sixth lde P Play helpinfo 8 Minor sixth m6 Augmented fifth AS P Play help info 9 Major sixth M6 Diminished seventh la7 r Play helpinto 10 Minor seventh m7 Augmented sixth AG le Play help info 11 Major seventh M7 Diminished octave d8 P Play helpinto 42 Perfect octave P8 Augmented seventh AT P Play helpinfo Source Wikipedia Interval Music for more information about spelling intervals see our video Chord Explorer Introducing chromatic interval names Navigation In the above table the names for chromatic intervals are shown in the column augmented or diminished intervals Listening Ear Trainer 103 Exercises Narrow and Wide Intervals We start interval recognition by differentiating between narrow and wide intervals listening ear trainer Introduction Narrow and Wide Intervals Exercises To Do Total Points RGE Narrow Interval 0 0 or Wide Interval Simple Interval Halfsteps al Your task is to click inside the frame in which the interval is Introducing chromatic interval names Navigation Change Topic Oe Oa eo ee do 9 In this exercise you must ascertain whether the heard melodic interval is narrow or wide Since in this exercise the lower note 1s always a C4 chances are that you will solve the ta
20. Pl P8 PS P4 M3 M6 M2 M7 m3 m6 m2 m7 EL Cumulat haracteristcs as Normally Heard OQ0000 ro P4 M3 M6 iia o L i F Q O C 4 M2 M7 m3 m6 It is much simpler to differentiate between only two interval symbols Resemblance of Interval Characteristics Visualized Navigation Change Topic PreviousPag extPage Quit Introduction h It is difficult to concentrate on a single interval characteristic if you have many competing interval characteristics In our method you learn to grasp for interval specific characteristics as they appear naturally with decreasing intensity and not the interval itself with its entire harmonics That is if we want to learn to hear the perfect fifth we want to isolate the perfect fifth characteristic from other characteristics that are also present as much as possible If we know the interval characteristics that come before the perfect fifth characteristic then we can concentrate learning the new Perfect Fifth characteristic by listening to a normal harmonic Perfect Fifth until we have fully grasped the difference between the previous interval characteristics and the new Perfect Fifth characteristic Thus each interval to learn should contain as few as possible other interval characteristics A harmonically played Tritone supports all interval characteristics Listening Ear Trainer 164 Inside our Methods Introduction Visualize Overtone Relationships Isolated Ove
21. Total Attempts Sing Sing Sing Sing Sing Sing Sing Sing Sing Sing Sing Single Asc Date Succ Miss S460 S220 S120 575 S_50 re 5 25 S_20 9 46 Se SLT Notes Int 13 Jul 13 0 0 10 Jul 13 0 0 77 Jul 13 0 0 4 Jul 13 0 0 os 11 Jul 13 14 6 zas 28 Jun 13 14 6 ots 5 25 Jun 13 14 6 alt 22 Jun 13 14 6 19 Jun 13 14 6 ets 16 Jun 13 14 6 13 Jun 13 14 6 A0 Jun 43 44 6 Here you see an enlarged view 7 Ju n 13 44 6 for the May 31 and the exercise with 3 notes 4 Jun 13 14 6 and a precision of 33 cents 1 Jun 13 14 6 29 May 13 14 6 26 May 13 14 6 23 May 13 14 6 20 May 13 28 12 17 May 13 28 12 14 May 13 28 12 41 May 13 28 2 8 May 13 28 12 5 May 13 42 18 p 2 May 13 42 18 5555 anes Seeing Progress is what keeps us going Navigation Change Topic Quit Introduction Here as an example we have picked the results for May 31 and the exercise with 3 notes and a precision of 33 cents On that day you had for this exercise about 40 wrong answers and 60 correct answers If the bar is red the ratio was less than 10 A green bar denotes a ratio better than 90 Your progress pattern will likely not be as smooth and linear as depicted here As long as with the time the picture gets greener towards the top you are making progress Don t let you down if at a later time some red spots occur in lessons you have previously mastered You know that in case of set backs you were able to reach a certain level before
22. a big part of that process So Listening Ear Trainer encourages you to use the singing method to improve your absolute pitch abilities The Octave Anchor Pitches Method Learn to identify pitches by adding notes to a small repertoire Since it is unlikely that you have a vocal range of 4 octaves Listening Ear Trainer also includes a part where you do not have to sing In these exercises you learn to distinguish notes spaced widely apart and then with each lesson you add more notes so you have to listen closer to give a correct answer The first exercise Recognize the Cs contains only the notes C2 C3 C4 C5 and C6 These notes are a whole octave apart and should be easily identified Listening Ear Trainer 10 User Manual The Octave Anchor Pitches Method gt Initial Anchor Pitches gt T gt Learn to differentiate C s V When mastered continue Use as new starting repertoire O t F d Add Strongest Overtone G s The first overtone to add to your repertoire of the C s is a perfect fifth The G Followed by the inverted interval the perfect fourth The F It is advised that you learn to differentiate the strong related pitches first Other notes may seem more distinct and easier to separate However it will be more confusing later since more relationships to other notes exist and the specific characteristics start to blur Copyriht 2013 by www AlgorithmsAndDatastructures com In
23. a particular user the program must know which user it is working with Therefore please select the user from the list displayed listening ear trainer Listening Ear Trainer User Management Ckick your Name from the list or add a new user 4 m i Ley H ct ae w Tessitura Add User Admin Password Activate needed for delete Users Registration Serial Number Paste from clipBoard Buy Serial Number and Activation Key Control Quit Program Make your Choice Select a User or Add a new User Click a user from the list to start the lessons or click in the New User Field to add a new User If you are not on the list you may add your name by clicking in the New User field and typing your name Select a tessitura see next paragraph and click Add Your name should now appear and you can select it To adjust the exercises to the user s vocal range the user must select one called a tessitura here High designates soprano medium baritone and low bass You can change the tessitura anytime by going back to this dialog box The tessitura has no effect on the pitch recognition exercises chosen it only displays the notes in a range which should be suitable for your voice If your voice spans a wide range 3 octaves or more you may go through the exercises in all tessitura modes The registration process is explained in the last chapter For now simply select your desired tessitura and
24. a specific level you are supposed to do 25 exercises However your score does not start from zero Instead your score will continue from where you left off There are a maximum number of points you can make in each level but to reach the maximum is not the goal per se Ear training is a continuous process just like learning a foreign language We will start explaining the exercises shortly but first we will show you the common procedure after an exercise Once you have finished an exercise you will automatically be transferred to the feedback screen listening music teacher Exercise Title Lesson3 Exercise Type HowManyNotes User felix Tessitura high PersonalScore Tessit HighScore Tessit Who 0 high 0 is lt ercise Score This Exercise Score Your Score for this Exercise 0 Evaluation Low score try again Okay Your old personalHighScore was 0 no improvement this time 0 Try to beat your score Control Choose new Lesson Check Your Progress Listening Ear Trainer 82 Exercises In the middle of the feedback screen you will find the score you reached for a particular exercise The scores are colored as follows blue You reached less than one third of the possible points green You reached the basic level yellow You reached more then two thirds of the possible points red You have more then 90 correct answers Below that you will see your previous high score and a comment to keep on improvin
25. allowed to use a limited only a limited number of lessons are available version of the software for 100 days for testing and learning purposes free of charge After 100 days you must buy a serial number to be entitled to use this software further or else delete the software and all accompanying material and copies Payment permits continued use of this version of the installed software on this computer and access to all lessons There is no warranty on the software The tracking down of errors on other machines than ours 1s far too complicated If you discover a software fault please notify us Restrictions You are not allowed to redistribute rent lend or lease this software Purchase of a license restricts use to the computer you installed the software on If you sell or give away the computer the software is installed on you are required to remove the installed software from the computer prior to transfer of the computer to another person Remind you Part of the software is from esellerate MindVision Software USA which contains cryptographic code which is subject to export laws You are not allowed to disassemble decompile unlock reverse engineer or in any manner decode the software CD Delivery When ordering the product you may be presented with an eCD option This option allows you to order a physical CD with the download item on the CD This service is provided to you by esellerate Lincoln Nebraka 68507 The version
26. also repeat a sound without any meaning actual sound pattern memory or the memory used to recognize special noise Still to repeat a sound you use the vocal muscles do the work of the repetition so the motions of the vocal cords must be stored somehow The brain controls muscles and stores their actions in muscle memory Words can be repeated using the short term abstract sound memory i e the memory that holds the actual sound patterns without their meaning or with individual interpretations of their meaning In most cases the brain prefers to store the abstract meaning of the word instead of using the sound pattern memory In the computer a stored word uses a lot less memory than it would take to store the sound of that word When the same word is spoken by different people a different sound pattern is produced by each The same is true for different musical instruments which produce different sound patterns even if they play the same pitch Loud or soft dynamics do not change either the meaning of word or the pitch Thus the abstraction of a pitch or word makes sense to the brain and only the pattern of the muscle memory for the interpreted word gets stored Listening Ear Trainer 176 How do we remember sounds and pitches However the actual sound memory is separate where sound patterns from short term move to long term memory This is especially true for sounds heard repeatedly and for which additional attributes are also stored For
27. and E Combinations of P5 P4 and M3 to build Intervals Navigation Change Topic PreviousPage xtPage Quit Introduction Quit Finally we stuff the next large gap between A and C with a Major Seventh Introduction Use Interval P5 P4 and M3 Combinations Interval 1 Name half plus Interval 2 equals new Interval P5 12 2 P8 M2 aoo O P5 12 e P5 11 eee O P4 10 Se O a 3 eS8ceeececk ec 2 2 4 2 2 2 1 Finally we stuff the next large gap between A and C with the Major 7 Combinations of P5 P4 and M3 to build Intervals Navigation Change Topic reviousPage Quit Introduction Quit If we also allow subtractions we can construct all minor intervals But we will not get a Tritone without using at least a combination of three of our basic intervals P4 and M3 Listening Ear Trainer 159 Inside our Methods Introduction Use Interval P5 P4 and M3 Combinations Interval 1 Name half steps Po 7 PS i FS ji P4 5 P4 5 M3 4 Interval 1 plus Interval 2 Name half steps P5 7 P4 5 M3 4 P4 5 M3 4 M3 4 equals new Interval Name half steps M9 1242 P8 M2 P8 12 M7 11 m7 10 M6 9 m6 8 min Interval 2 lequals new Interval Interval 1 Name half Change Topic Quit Introduction Quit We do not favor a specific minor interval as the next interval to learn since now all remaining intervals fit b
28. and make sure that you do not progress too fast The exclusion method only works 1f you can depend on already learnt material That does not mean that you cannot do other methods in parallel But when doing exercises with our Octave Anchor Pitches or Interval Overtone methods please do not skip forward until you have reached a satisfactory level of confidence It is like building a tower it takes the most time building the fundament however if you can trust your underlying layers you can feel free to move on to the next levels securely Important Never start a day with a new lesson Always do a warm up with the last successful lesson And only continue with the next lesson when you have mastered the level again Introduction Method Differences The Interval Overtone Method Learn to hear and differentiate Initial Intervals Pap 2 ge D E the particular interval characteristics P1 P8 And only continue with the next lesson when you have mastered this level again Use as new Starting repertoire aa a ioeo P1 PS Ps We start by learning to differentiate the unison from the octave When we have mastered to hear the particular interval characteristics we continue with the next mos t similar interval It is advised that yc tee arn to differe antiate the strongest similarities first Other intervals When mastered continue may seem more distinct and easier to separate However it will be more confusing later s
29. degree but you would achieve pretty close results Of course your brain uses every bit of information it can for instance the position of your feet Thus the environment influences your awareness of how your arms are positioned in relation to earth Standing on a steep hill will likely make you adjust to imperfect measurement of horizontal But if you train in several different environments you will master the additional conditions So to apply this analogously to controlling the vocal cords you can train their muscles to produce a desired pitch With such training you can fine tune your vocal cord muscles precisely and produce a correct pitch in different situations If you associate the solf ge syllables to corresponding pitches the muscle setup for each syllable will itself guide you to almost produce the correct pitch without fine tuning The more you train in different situations e g in the morning or evening standing sitting etc the better you will master the relationship between the vocal cord muscles and the solf ge pitch Recognizing words To recognize words your brain has to compare the physical sound you hear with patterns stored in your memory If the brain can match a sound it will present you with its stored meaning for example when you are in danger or finding food or discerning if other humans are in the direction of a sound But when the brain matches a sound to a word we can write it down or repeat it We can
30. frequency s relation to other notes Thus if you could detect the frequencies to a precision of 1 Hertz there would be no need for note names You could simply identify pitches using the physical unit of a frequency Listening Ear Trainer 19 Introductory Lessons listening ear trainer introduction Relative Pitch is more Important Tempo 60 e 1046 5 Hz 5 7 1043 Hz 1041 Hz e e for C6 is 1046 5 Hz Learn how the program works Navigation Change Topic PreviousPage NextPas Quit Introduction Guit If you can differentiate two pitches that are only 1 hertz apart and the time between these two sounds is an hour apart then you truly have a sensational ear People with absolute pitch would say that the pitches of 1041 Hz and 1043 Hz correspond to the note C6 Even so the exact frequency of C6 in the equal tempered tuning system has been calculated as 1046 5 Hz Despite the emphasis of relative pitch using absolute pitch to differentiate pitches into ranges helps to keep track of the entire sound spectrum of pitches Listening Ear Trainer 80 Introductory Lessons listening ear trainer mE introduction Making Progress Total Points Click the Note you heard y ATE D a 1200 fo Albeit ae an inaccuracy of 1200 cents C3 m o Ae C Elapsed Tins i i Learn how the program works Navigation Change Topic i Quit Introduction meok Absolute pitch training might be boring or fr
31. hum a different pitch and thus miss this principle You had a reference tone when you did the exercise the note you hummed before but now you have to work to retain that note in your memory Listening Ear Trainer 44 Introductory Lessons listening ear trainer Introduction Absolute pitch criteria Official Your Note tomorrow Note C 4 C 4 oo o O w z you will probably hum a pitch which is more than a whole note off of the note you hummed now Learn how the program works Navigation Pa ge Pr sce NextPage Chan ge To pic Z Fase NextPa AJ Quit Introduction As you do the exercises your control of your vocal muscles will increase And with fine tuning your listening skills will sharpen and your ability to remember the pitch of a note through your inner ear will increase If you should hum the same note the next day you will likely be more than a whole note off Because your brain is not trained to recollect pitches to this degree of accuracy or your vocal cords are looser or tighter depending how much you have used them that day Nevertheless the pitch might be near the pitch you hummed yesterday Detecting the pitch of a note is not the only principle for absolute pitch Listening Ear Trainer 45 Introductory Lessons listening ear trainer Introduction Absolute pitch criteria The more complex tasks like to name the key of a given piece Absolute Pitch Wikipedia Identify by name individu
32. identifying familiar song does not work as well as you must transpose the interval up or down an octave and thereby distort the song unrecognizably Also since large intervals are difficult to sing they rarely exist in such songs Nevertheless hearing compound intervals forces you to listen for similarities of quality that span over an octave We begin with P1 P8 P15 two octaves and P 23 three octaves Adding Compound P5 We continue by adding P5 P12 one octave plus P5 and P 19 two octaves plus P5 Adding Compound P4 We continue by adding P4 P11 one octave plus P4 and P 18 two octaves plus P4 Adding Compound M3 We continue by adding M3 M10 one octave plus M3 and M17 two octaves plus M3 Adding Compound M6 We continue by adding M6 M13 one octave plus M6 and M20 two octaves plus M6 Adding Compound M2 We continue by adding M2 M9 one octave plus M2 and M16 two octaves plus M2 Adding Compound M7 Finally we add the M7 M14 one octave plus M7 and M21 two octaves plus M7 Recognizing the Interval In this exercise you learn to recognize all intervals including TriTones and Minor intervals When you first start this exercise we recommend you use the training mode for limiting the interval exercises to only a few new ones For example start by learning the Tritone and then add the Minor third Remember All the remaining intervals lie in between intervals you have already learned So you should
33. it is of course much more difficult to sing than to speak For singing accurately you must bring your vocal cords into specific positions and tension To sing a pitch in tune you must also control your breathing by controlling the airflow through your vocal cords Our product Listening Singing Teacher gives you real time feedback on pitch accuracy and helps you to control your vocal cords Therefore by training your muscle memory with the Singing Funnel method you can supply the missing musical education by remembering sounds with muscle memory and improve your listening skills to have absolute pitch Listening Ear Trainer 177 How do we remember sounds and pitches Since the only way we can produce a sound is through our vocal cords 1t follows that we hear pitches with our inner ear from their muscle memory The process has to include the activation of our muscles so it also makes sense that pitch gets stored in the muscle memory as well Since the brain likes to store information as attributes the timbre of an instrument for example will be stored in a separate attribute Using our inner ear the brain tries to match our associated solf ge syllables or the sound of another instrument for that purpose 1f we have trained during childhood to the real sound If a match is found the recognition process is complete Since singing is an active experience we can improve it by training If we sing correctly and tap into our
34. learning to isolate the different unique characteristics of each interval So no matter where the interval starts the relationship between the two notes will always produce the same unique or universal pattern of interactions the ratios for a given distance of semitones You learn the interval properties one by one You learn new interval properties by excluding already learned interval properties The scores measure how close you have grasped the pure interval characteristic A score of zero means the interval is not mastered and will be repeated as a question often As the score increases the interval will be asked less often A score of 7 means you have mastered the interval However the more intervals are in the pool of mastered intervals the greater the chances are that one of the mastered intervals is again posed Of course 1f all intervals have a score of 7 meaning they are in the pool of mastered intervals you will be presented with one of those intervals Listening Ear Trainer 18 User Manual Most other ear training methods start with minor and major seconds and do not encourage you to stay in a level until you have mastered the current level For the Interval Overtone method it is important that you grasp the interval properties by their similarity You have to learn to differentiate the strongest similarities first since these properties are also contained to some degree in the following intervals Thus our method builds by st
35. level abstractions uses far less memory than storing raw data This higher level storage also allows us to more easily process the data the smaller storage size can be accessed faster For raw data there is never an exact match even if the same person repeats the same sentence again and again There are almost always differences in the raw data therefore it is important that the information is stored in a useful way with not too much data and not too little These higher levels of abstractions are important for communications We can speak to and understand people we have never met before Another aspect of computer processing of sounds is seen in the synthesis of sounds Midi files are files that store musical information as events These events are defined by the start and end time of for example a specific note within a piece its volume the instrument used or effects applied The actual sounds are not stored in the Midi file It 1s the task of the playback device to generate the real sound Because of this MIDI files are very much smaller than digital audio files and the events are also editable allowing the music to be rearranged edited even composed interactively if desired see http www mid1 org To generate the real sound of the piece the playback device on the computer must synthesize the sound The result of the synthesized sound depends on the sound samples stored on the playback device When coupled with a Downloadable So
36. muscle memory we will recognize pitches correctly Since the brain likes to store information in meaningful categories it is capable of isolating the pitch attribute of any instrument by comparing it to the pitch attribute of the voice or the pitched solf ge syllables Pitches outside the singing range need additional brainpower to be recognized To recognize pitch without singing 1s very difficult to accomplish after the brain has switched from raw data collection to the more powerful meaning and attribute system the latter system tends to get in the way Of course your brain can still collect raw data but it will do so to a much lesser extent You must use special techniques to overcome this situation e g hypnosis or other psychological relaxation methods that reopen the mind for raw data collection But the brain is always open for raw data which can be shown with learning foreign languages You can repeat sounds of a new language with little or no difficulty however the transfer to the long term memory takes longer Since the brain cannot assign known attributes to a new sound it needs repetition and corresponding stimuli visual textual and other sensory stimuli in order to assign meaningful attributes to the sound Otherwise the brain will refuse to store the meaningless sound in the long term memory Again for learning a foreign language the active speaking of the words helps the learner tremendously The Singing Funnel me
37. part of the Major scale Even though the minor Third is an important part of triads the overtones beyond the Sth overtone are already so weak that the combinations of previous overtones become more relevant For example a Major third plus a Perfect Fourth gives a Major Sixth But let us continue with the overtone series The next overtone is G again an octave higher so we continue to the next overtone Bb The interval from C to Bb is not part of the C Major scale but from Bb to C first overtone it is a Major Second and the interval from Bb to G second overtone an octave higher 1s a Major Sixth To make the learning process more symmetrical the sequence used for the exercises goes from the Major Sixth to the Major Second The remaining major interval is the Major seventh Listening Ear Trainer 116 Exercises Now you have learned eight simple intervals You could now continue to learn the five missing intervals to complete the octave However the exercises continue with simple harmonic intervals in order to establish confidence in the previously learned melodic intervals Here we will learn the same eight simple intervals and the strong overtone occurrences in the intervals After mastering the simple harmonic intervals you will learn the compound intervals The last exercise in the compound intervals section uses all intervals including the less important overtone occurrences Once you get to this exercise we recommend you select
38. pitch feedback the solf ge syllable is displayed for easier reference Since the program is evaluating your pitch memory you should start singing during the count off This eliminates errors due to incorrectly placed tensing of the vocal cords In this way when the pitch gets evaluated you should have corrected your singing from what you imagined the sound should be Listening Ear Trainer 67 Introductory Lessons listening ear trainer Bull s eye 50 cents SEOPRE introduction Sing Exercise Overview PitchHit 0 OE Notes Moved 0 Tempo 60 gt 2 Ale E4 4 That is if you start too high the arrow will point down Navigation Change Topic Quit Introduction This first pitch shows where you thought the pitch should be You can still slide to the correct pitch to get the correct feeling for that note but the arrow will stay tilted Thus the next time you would try to start singing this note higher or lower to meet the requirements You have to hold the pitch for the duration given by the tempo This will strengthen your understanding of where that pitch lies in your voice Listening Ear Trainer 68 Introductory Lessons listening ear trainer Bull s eye 50 cents Scores PEtchhch D Notes Moved 0 introduction Sing Exercise Overview Tempo 60 If you miss that goal the arrow will move away from the centerline
39. repeat the same note The distance between two notes can be given as an interval name or as the number of semitones they encompass The number of semitones or half steps 1s more universal but 1s not conventionally expressed in musical context Listening Ear Trainer 93 Exercises 700 listening ear trainer Introduction Importance of Interval Music is much less about absolute pitches or absolute tempos than about the emphasis on relative characteristics and concepts Intervals A cornerstone for melodies Navigation In the dialog box above both depicted note pairs have perfect fifth intervals The second interval starts a whole tone higher than the first Intervals are basic building blocks for melodic movement Listening Ear Trainer 94 Exercises Intervals come in three flavors Introduction Interval Descriptions Melodic Melodic Ascending Descending Harmonic Both notes are played simultaneously How to describe intervals Navigation Change Topic PreviousPage NextPag gine inane eene oac Intervals describe the relationship between two notes In a chord with more than two notes each possible pair of notes can be described with an interval name Melodic intervals When the pitches are played in succession or one after the other then the interval can be described either as ascending or descending melodically Harmonic intervals When the pitches are played at the same time or together
40. the eight simple intervals in melodic form you are ready for harmonic intervals It may seem easier to start with harmonic intervals since both tones are played simultaneously you can hear the physical relationship between the two sounds and you don t have to build the interactions yourself as is the case by successively played notes However as a beginner you may have no place to store that experience directly It is therefore easier and more effective to learn to associate the beginning of a tune to a melodic interval Once you are fluent in recognizing intervals you no longer need to make the detour using a song to identify the interval but you will have a fallback to anchor your newly acquired knowledge This fallback provides the necessary confidence to proceed in the recognition process Finally you can refine your skills by learning all twelve simple and compound intervals What is unique to this method Similar to our other methods introduced this method uses a systematic approach the order of the intervals to learn milestones the exercises and bookkeeping scoring to observe your progress Incorrect answers bring the corresponding interval to the top of the learning process repetition Similar to our Octave Anchor Pitches method the Interval Overtone method steers directly toward the goal to recognize the interval without a context by means of recognizing absolute interval characteristics By absolute we mean
41. the next pool or to stay in the mastered pool Otherwise the interval will be moved back to the novice pool The score continues indefinitely so even when you have reached the maximum possible points you can continue testing yourself Starting an exercise sets the exercises to do count to 25 But does not reset the score and the hit count for each note stays where you left it last time There are a maximum number of points you can make in each exercise but to reach the maximum is not the main goal The continued improvement in fluency and accuracy remain higher goals of the learning process When learning a foreign language repetition plays an important role The same is true for learning intervals or other musical concepts Listening Ear Trainer ie Exercises Ascending Intervals Recognizing Ascending P1 and P8 The beginning exercise for the Interval Overtone method is to recognize ascending Perfect octaves and unisons Before you start an exercise you have the possibility to set some options by selecting the Show exercise options in the lesson dialog box OO listening ear trainer introduction Interval Exercise Options Instrument flute Show Rehear Buttons DX Trainings mode Select the intervals to exclude in the test by clicking on the desired notes Fo M2 14 A Tempo Eo Time limit l5000 Show Notes on Staff P Play test interval Harmonic Ascending Descending Conmncrals Start Ex
42. the program analyzes your pitch and assigns a sound to the note nearest to your hummed pitch The program then asks you to repeat the same sound again but from the perspective of hearing it first and imitating Your task is now to hum the identified note Once you have succeeded to hum the note on request you have fulfilled the first principle of absolute pitch Accurately singing a named pitch without an external reference The program continues to compare your pitch with the frequency of the given note and tells you the measurement of deviation from the pitch hummed perfectly Listening Ear Trainer 43 Introductory Lessons listening ear trainer Introduction Comparing to a real note Official Your Note Note C 4 C 4 a See al EY go In this way we can see how much your pitch deviated from the accurate note Learn how the program works Navigation Change Topic Quit Introduction U In our music system the deviation of the pitch is given in cents whereby a deviation of 100 cents means that the sound is a semitone or half step off Thus a note 100 cents away from its original frequency has the same frequency as the next higher or lower note This distance corresponds to the minimum presentable distance between two notes a semitone However the ability to accurately sing a named pitch without an external reference gets questioned immediately if you have to hum the same sound again tomorrow you probably will
43. the training mode and disable all new intervals but one In this way once you feel comfortable with the new interval you can add the next until you have covered all intervals Since the new intervals are all in between intervals already learned you can learn to recognize them by comparing to the next lower and higher Major or Perfect interval We suggest you start by adding the TriTone with its special characteristic as it lies between the Perfect Fourth and Perfect Fifth If necessary you can also select the melodic ascending interval mode from the training options to familiarize yourself with the melodic characteristic of the new intervals Exercises Relative Pitch The exercises for relative pitch are built on the same principles as the Octave Anchor Pitches method The goal is to learn to recognize specific interval characteristics For this we use the learning box again So the degree to which you have mastered the intervals gets assigned to pools of consolidated intervals There are eight pools 1 The novice pool for those intervals not answered correctly shows zero for the count of correct answers in a row 2 Those intervals answered correctly seven times in a row are moved to the mastered pool The other pools show intervals answered 1 2 3 4 5 and 6 times in a row Intervals in lower pools are asked more often than intervals in the top pools However you have to answer the intervals correctly in the upper pools in order to move to
44. the vocabulary Listening Ear Trainer 138 Inside our Methods Learning Absolute Pitch like a foreign language We think that absolute pitch can be learned like a foreign language The main barrier is the needed time and effort versus the gained ability For example it would be nice to perfectly speak Chinese But how many of us actually will start the year enduring process of learning Chinese However the motivation to learn Chinese is much stronger than the motivation to acquire absolute pitch With Chinese you have the possibility to enter a new and lucrative expanding market Chances that you can profit from the language knowledge are much higher than 1f you learn the musical alphabet Even if you stop the Chinese course after a year you are still able to use your knowledge to some degree For absolute pitch this is only partially true you can go along with relative pitch quite well Since there are basically only 12 notes that you have to recognize your motivation will rapidly decrease if you cannot see progress after a few days So people are spending 5 10 yours of daily training to learn a foreign language but nearly no one will spend such an amount of time to acquire absolute pitch The main reasons why people continue to learn a foreign language are motivation for the goal and seeing progress Yes your vocabulary and understanding of the foreign language growth notably over time Now for to learn absolute pitch nothing loo
45. time to prepare your muscles for the low note relaxing the muscles takes longer than tensioning Since the first intervals P1 P8 and P5 are easy to distinguish it is a good point to start the singing training with the Major third In this way you will get a new orientation point for the interval property of the Major third Adding Ascending P5 This exercise adds the interval for the Perfect Fifth which has the strongest overtone of any note after the octave Any pitched instrument already contains the sound of the Perfect Fifth as an overtone therefore you should learn to differentiate the characteristics of the Perfect Fifth from those of the Perfect Unison and Octave It is strongly recommended that you wait until you have mastered differentiating the Perfect Unison and Octave before starting this exercise Adding Ascending P4 Since in a harmonically played interval the pitch an octave higher of the lower note will also be present as an overtone so the interval of a Perfect Fourth can also be heard when playing a Perfect Fifth Thus when you are learning to differentiate the Perfect Fifth you will also be Listening Ear Trainer 123 Exercises hearing its inversion a Perfect Fourth In order not to confuse these with other intervals you should learn in the next step to differentiate a Perfect Fourth from a Perfect Fifth All intervals will contain to a certain degree the same overtones and thus the same intervals Your task is to le
46. try to relate them to the lower and upper intervals you already know those that encompass the new interval When you finish go back to the full exercise mode so you can increase your score in the lesson dialog box Listening Ear Trainer 126 Exercises Recognizing the triad quality The last exercise introduces the triad There are four qualities of triads and these become more difficult to identify in triad inversions The sound patterns of the triad quality lie closer together than those of triad inversions This makes the task of learning triad qualities and triad inversions a little more difficult but you will get a feeling for these qualities before long listening music teacher Identify Quality GetExerciseAnswer Exercises To Do Total Points aa What quality has the triad played Get hints by clicking the buttons to the left Navigation Quit Exercise In the beginning you might even reduce the number of possible answers to two Half Choices After awhile your scores will improve In this exercise you are encouraged to use as few hints as possible in order to earn as many points as possible This triad exercise is from Listening Music Teacher our method for learning music theory which has exercises for recognizing triads and seventh chords Listening Ear Trainer 127 Exercises Recommendations For musicians ear training is necessary in order to recognize relative pitch differences
47. works Navigation Change Topic FreviousPage NextPage aie Introduction 2 This question is still pretty easy to answer since the pitch differences are quite large In the next test it gets very difficult to this assignment Since the sounded pitch is nearly in the middle of our two notes That is the pitch sounded is only a semitone away from the middle If you have a good ear then you can still assign the sound to either the low or high note Don t worry if you fail this test you are here to learn to understand the concept of our method Listening Ear Trainer 52 Introductory Lessons listening ear trainer Introduction Far apart pitches will only be a semitone nearer to one of our official notes Learn how the program works Navigation Change Topic Sit Introduction 2 4 This test shows us where the difficulties lie How well can we differentiate two notes Even people with absolute pitch cannot differentiate a sound exactly in the middle of two adjacent notes or deviates only by a very small percentage towards a note in the semitone scale Listening Ear Trainer a2 Introductory Lessons listening ear trainer E BS Introduction Difficulty to assign a a pitch to a note name If you sound a pitch where the distance to an official note is exactly in between the notes Learn how the program works Navigation Our ears are not accustomed to hearing very small differences in pitch Theoretically a sound a
48. your vocal cords Your brain learned what actions were necessary to change the outcoming sound in a desired direction We are going to do the same process again With our visual feedback measured to the cent you will learn to control your voice with much greater precision But how do you remember pitches By remembering the adjustments of your vocal cords You think this is not possible You might also be shocked and say me and sing How should I be able to control my vocal cords Think again First say Ah Now say Oh Any clues on how you adjusted your vocal cords Not the slightest You could do it without any awareness of how you had to adjust your vocal cords Yet you must adjust your vocal cords precisely in order that a specific sound comes out your mouth That is you use your muscle memory to bring your vocal cords in a position so that it can produce the fine differences between an Ah and an Oh The same 1s true for pitches After a while you will not need to actively control your muscles of your vocal cords It will come automatically You will not even have to physically utter the sound You will hear it during the preparation phase with your inner ear This is the perfect storage place for pitches When you listen to a sound just try to repeat the sound with your inner ear and prepare yourself mentally to repeat the sound The brain will remember and recognize the vocal cords muscle positions and g
49. Anchor Pitches Method The Interval Overtone Method Inside the Singing Funnel Method From the three methods the Singing Funnel Method is the most important Listening Ear Trainer 141 Inside our Methods Introduction The Singing Funnel Method Explained Brain Activity Abstract Take over pitch from instrument to own voice Transform abstract stimuli into necessary muscle movements to reproduce or imitate imagine pitch Compare transformed pattern to stored patterns in long term memory If recognized then re inforce pattern and pitch association Long Term Memory MJ Ww D Muscle Activity Aural Perception else prepare for long term storage by stored muscle movement vocal cords sound stimuli storing new pattern in short term memory patterns muscle memory AAG Receptieve AES Tick Store 2 Sound nerve signals Ae i D i Se Wests S S Recall A4 Muscle stimuli signals That is you have to use your vocal cords muscle movements to capture the sound characteristics Using Muscle Memory to Immitate and Recognize Pitch Navigation Change Topic Quit Introduction We believe in a strong relationship between memory muscle activity and imitation That is we think that the brain 1s storing properties of events as retrievable muscle actions We assume that these muscle movement patterns are stored in the long term memory This makes sense beca
50. Ef 4 is calm all 1 es 4 1 os 4 3 1 Learn how the program works Change Topic z ag Pag i Quit Introduction neok The only difference between the two given sample recordings is the starting note In both samples the notes following use the same relative pitch difference from the previous note Even so the notes are different and you will easily recognize either melody as Silent Night from Franz Xaver Gruber Absolute pitches become almost meaningless in the process of melody recognition This sample also highlights your sense of relative pitch Ear training will improve your sense of relative pitch which is good As we have intimated earlier trelative pitch is more important than absolute pitch To further understand why relative pitch is more important than absolute not only on a note by note basis consider the following scenario say you should accompany a flute which plays the lead melody with your guitar Assume also that the flute cannot be tuned on the fly e g pan flute Imagine also that unfortunately it is a very hot day The temperature influences the sonic speed of the air and thus the pitch or tuning of the flute the increase of sonic speed by the temperature makes the flute produce higher frequencies The length of expansion of the flute s bamboo tubes compensate for this effect to some degree by making its air pipe longer thus this effect lets the flute produce lower sounds But the effect of the expansion is not enou
51. For example the pronunciation of foreign languages can be more easily remembered if we know the meaning of those words If we are able to reproduce a sound vocally then it is even easier to remember In general the more associations we can assign to a sound the easier it is to recall As a specific example many people are embarrassed when if they call a company to ask for some information have a nice talk not remembering their conversant s name at the end in order to say thanks I have noticed that it helps to repeat the greeting e g Good afternoon Mr So and so I d like to ask about Chances are much greater that you will remember the name at the end of the phone call Further if you write down the name you can expect to remember it for a longer time even without reviewing what you wrote And if the voice or name is difficult to understand at the end of the phone call one might ask him or her to kindly repeat the name gaining another opportunity to hear and memorize the sound or spelling of the name The above example demonstrates that sound memory need not be an isolated or specialized memory but is normally interconnected with other associations Sound processing Computers process sound differently than we do First the sound is converted from its analog waveform to sample points similar to scanning a page digitally The data in this sample form can be stored as actual sound or as actual image Except for the repr
52. ING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE FOUNDATION OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE 5 Third party Libraries This product is linked with libraries from Apple Inc California USA MindVision Software Lincoln USA eSellerate Lincoln USA and the Free Pascal Organization www freepascal org You are not allowed to extract the codes of these libraries and use them in any way without the permission of their holders However you may download the libraries from their sites by agreeing to their terms and conditions Music and Sounds Musical excerpts belong to their creators and are included in the product only for demonstrational and educational purposes You are not allowed to use these materials in any other way Sounds are either from MIDI or own recordings Applause sounds courtesy of J Fairba and Mike Koenig Images Images are creations of AlgorithmsAndDataStructures and may be based on freel
53. Interval Qualities z pa nae amp Da Sq y a 7 oo o oe o oO e eo Inverting intervals Navigation Change Topic Quit Introduction The vertical blue dots in the picture represent the position of a note in the scale By counting these blue dots we get the interval number depicted below the note pair The quality of an interval also expresses a relationship with its inverted interval To illustrate this let us look at just the first 6 intervals and their inverted intervals Listening Ear Trainer 99 Exercises Introduction Introducing Perfect Intervals Intervals up an to 6 half steps m A ie o E T th L an yo E je E G4 k y we see four blue full length lines O th Lh oa _ aN G De I W j a Oa P E A D4 Cu 7a GHI II Ge J J J iS By qo fO E pIj 2f6b2 eda ik nb Navn Introducing Perfect and Majo intervals Chan Quit In the above picture the notes or steps of the scale belonging to C Major appear on a blue line while those not in the scale are represented by a purple line If we compare these blue colored steps with the colors of the upturned or inverted ladder we see four full length blue lines 4 e unlike those that begin as a blue line but continue in purple at the dividing yellow area in the center These full length blue lines denote four intervals that when inverted remain within an octave
54. Quit Introduction Listening Ear Trainer 157 Inside our Methods Thus we can hear a Major Second without going further in the overtone series than two overtones That is we can construct a Major Second solely from Octaves and Perfect Fifths So let us look at possible additive combinations of P5 P4 and M3 Introduction Use Interval P5 P4 and M3 Combinations Interval 1 plus Interval 2 equals new Interval Name half Name half Name half steps steps steps PS 7 P5 7 M9 124 2 P8 M2 PS 7 P 5 i o 12 P5 7 MB 4 M7 fil P4 5 P4 5 mer 10 P4 5 IMB 4 M6 9 M3 4 NB 4 m6 8 We think that the intensity of the combinations do no more differentiate enough Combinations of P5 P4 and M3 to build Intervals Navigation Change Topic i pusPag NextPag Quit Introduction We think that the different combinations do not allow to make a distinction based on the intensity Therefore we have chosen the Major Second as the next interval to learn for symmetrical reason or by mending a net by stuffing the largest gap that is between C an E Listening Ear Trainer 158 Inside our Methods Introduction Use Interval P5 P4 and M3 Combinations Interval 1 Name half plus Interval 2 equals new Interval Already Selected Intervals from C eee le ee O SSS o eo ooo o 4 a 2 2 3 or by mending a net by stuffing the largest gap that is between C
55. THER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE 2 OpenAL on Windows During the Installation you will be asked to accept the licence terms of Openal 3 Glut32 dll Windows only Glut32 dll is under LGPL GNU Lesser General Public License GNU LESSER GENERAL PUBLIC LICENSE Version 3 29 June 2007 Copyright C 2007 Free Software Foundation Inc lt http fsf org gt Everyone is permitted to copy and distribute verbatim copies of this license document but changing it is not allowed This version of the GNU Lesser General Public License incorporates the terms and conditions of version 3 of the GNU General Public License supplemented by the additional permissions listed below 0 Additional Definitions As used herein this License refers to version 3 of the GNU Lesser General Public License and the GNU GPL refers to version 3 of the GNU General Public License The Library refers to a covered work governed by this License other than an Application or a Combined Work as defined below An Application is any work that makes use of an interface provided by the Library but which is not otherwise based on the Library Defining a subclass of a class defined by the Library is deemed a mode of using an interface provided by the Library A Combined Work is a work produced by combining or li
56. a gt F Fi Se gt F Gb So gt G Si Le gt G Ab a gt A Li Te gt A Bb Ti gt B Be aware that neither E or B are represented in the statistics box E is the same note as F and B the same as the C at the top of the scale The numeral after the note name e g the 4 after C in C4 denotes the octave On the piano AO is the lowest key Middle C is C4 Number of Note Presentations This column tells you how many times the note was presented in a pitch exercise Samples Observed The number in this column shows how many pitch sample points belonging to this pitch were observed Longer notes have more observation points than short notes Hits The number in this column tells how many of the observed samples resulted in a pitch hit or correct answer where the pitch frequency was within the predefined limits Samples Respected Since pitch sensitivity can be varied the number of notes that fulfill the criteria for a correct hit depends on the chosen sensitivity For the statistics reading all samples falling at a distance range of two half steps away from the given pitch are acceptable no matter the chosen sensitivity If a narrow sensitivity was chosen this number is usually higher than the number of hits By contrast a very broad sensitivity may result in fewer acceptable answers Note Frequency This column displays the note frequency in Hz Your Mean This column shows the calculated mean frequen
57. aaehteaunenateacnshttaaau teen 125 Addo Titi ya Ns as reat vlaes Sars nciaa cue secee N ee 125 C Ompound MENAS Menem eeu CR teenporn en Cr Ceo E Re nae 125 Recognizing Compound Intervals P1 and P8 0 ee ecccccseeecceeeeeeeaeeeceeeeeeeeseeeeeeeeeeeeas 125 Adding CompounG Pherae ae a aici ee e 126 Addins Compound PAE is rsste eile theater al teat clade ade eet a a ela ialta toasted us tell eaten 126 Adding Compound M3 seeessssesssseressseresssecessssersssseresssecesssecesssseressseresssecessssersssseressses 126 AAE C OON a E A nr emma n Tre nr ye rrr 126 Adding Compound M2 ccccccccssssccccsssscccceeeseeceseseecesseeseceeseseeeesaescseesesseeesaeasseesaaaeees 126 Addins Compound MT sses a N E teed i anlulinsdubel G 126 Recos mizne the Vale aie lires nae E OE 126 Listening Ear Trainer 2 User Manual RGCOOMIZING the miad qua y anane EE E EE EEA 127 RECOMMNEOdI ON Siirsin rin asenn E EEEE ENEA OEEO AESA 128 Stati SIGS eerror re sree n na R EAEE N EE EEE AE EAE EEE E EEEN EEEa 129 Pitch Center Tondeney Statiste S srei ane a E a E 129 CHrONnOlO SIC al StALISUICS oseanen at 130 MANS HVS AONE INNS NOS sss rst casera Gaya ete aa ee a a n ana 131 Pitch Teco miton SANS sc seseseteierssatsueet vane e EEEE NEEE 131 Comparing the acquisition of pitch to the acquisition of a foreign language 06 132 Learning Absolute Pitch like a foreign language eecccccecccccseeceeeeecceeeeeeeeaeeeeesaeeeeeas 139 Improving y
58. ak that combinations of already revealed intervals are more important than the intervals that are revealed with the next very weak overtones Don t forget that an overtone also has its own overtones These overtone swingings support each other since they fall into natural wave length divisions For example the first Perfect Fifth produced the G4 has itself an overtone of an octave resulting in a G5 Introduction Use Interval P5 P4 and M3 Combinations Overtones of Overtones Interval Overtone Series CJA V E 2z Combinations of P5 P4 and M3 to build Intervals Navigation Change Topic PreviousPage NextPage Quit Introduction Quit But the first Perfect Fifth produces also a Perfect Fifth as the second overtone of its own tone Resulting in a D6 Listening Ear Trainer 156 Inside our Methods Introduction Use Interval P5 P4 and M3 Combinations Overtones of Overtones Interval Overtone Series Combinations of P5 P4 and M3 to build Intervals Navigation Change Topic Quit Introduction Since the note C5 has a C6 as its first overtone we can hear an interval of a Major Second from C6 to D6 Introduction Use Interval P5 P4 and M3 Combinations Overtones of Overtones Interval Overtone Series we can hear an interval of a Major Second from C6 Combinations of P5 P4 and M3 to build Intervals Navigation Change TOPIC osie seiasl
59. al pitches e g A _F plLayed en rartats t7 Name the key of a given piece of tonal music just by listening without reference to an external tone Identify and name P a given chord or other tonal mass Accurately sing a named pitch Without an external reference Name the pitches of common everyday sounds such as car horns and alarms Learn how the program works Navigation Change Topic PreviousPag Quit Introduction More complex tasks like naming an interval or chord can be done by amplifying the individual pitches in your head Applying the rules of music theory will then give you the answers to the question If you have a lot of musical training you will not have to go through this serialization process for long as your brain will start taking a shortcut Thus you will be able to respond correctly more immediately The same thing happens when you learned to multiply A very roundabout way of thinking through multiplication is for instance nine times something equals something times ten minus something You would only use this procedure as a fallback if the something were larger than ten Otherwise you would have gained the answer spontaneously through memorization Thus when you do exercises for recognizing intervals you will get faster and faster through memorization of the tones Finally for some intervals you will have the answer spontaneously and if you continue with the exercises you will master all intervals that w
60. are dependent on third party products and libraries For those parts the following copyrights apply 1 OpenAL on Macintosh Copyright c 2004 Apple Computer Inc All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met 1 Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer 2 Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution 3 Neither the name of Apple Computer Inc Apple nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission Listening Ear Trainer 190 License Agreement THIS SOFTWARE IS PROVIDED BY APPLE AND ITS CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL APPLE OR ITS CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHE
61. arn to detect or recognize the nuances of intervals from their sounds The characteristic of a Perfect Fourth prevails over that of its inversion of a Perfect Fifth which carries the Perfect fourth only as an interval of an overtone of its fundamental or starting pitch Learning to listen for and identify the specific sounds of the Perfect Unison Octave Fifth or Fourth constitutes the basic skills you should acquire Because these intervals will be present in all ensuing intervals identifying them 1s required before you continue This way you can rule out these intervals definitively in mastering the other intervals Be sure you can name these intervals without any doubt so you can concentrate on learning the characteristics of the remaining intervals Adding Ascending M3 The next relevant overtone of any fundamental or starting pitch lies a Major Third distance away and its interval is the Major Third To avoid confusion in learning the remaining intervals we proceed first with the Major Third Again if you have ensured complete accuracy in identifying the previous intervals the Major Third will be less challenging to learn Adding Ascending M6 As explained in the introduction the method continues with the Major Sixth before the Major Second Both intervals appear as we continue with the overtone series and their inverted intervals We tackle the Major Sixth before the Major Second because it balances to a greater degree the previous inte
62. arting a fundament for differentiation and expands this fundament by adding new differentiation properties You learn absolute interval characteristics by differentiating them In other methods you often have to decide for yourself what intervals you want to learn We think beginners are overwhelmed with these choices and often choose to continue too fast However everyone is different so other methods may be better suited for some people The method s suitability also depends on your musical background If you are fluent with chords you may not want to use this systematic or universal interval characteristic approach and prefer to learn the intervals in a contextual approach In our exercises you also have the standard option of choosing the intervals you would like to learn Contact We hope you will spend many enjoying hours with Listening Ear Trainer Your comments and inputs are most welcome Please mail them to no singing leacnerlom Listening Ear Trainer 19 Installation Installation Macintosh Requirements Before you begin make sure that your computer is fast enough To have a good performance a G4 with 1 GB of RAM and adequate graphic card is required A Mac Mini G4 with 1 25 GHz and 1 GB of RAM or later version will suffice This program was tested with Mac OS X 10 4 11 You must have an appropriate microphone connected to your computer Check the relevant manuals on how to connect a microphone A Mac Mi
63. as in the above picture with in between notes or broad bands as in the two note system Listening Ear Trainer 56 Introductory Lessons listening ear trainer Introduction Difficulty to assign a a pitch to a note name broad bands y J yo ae Learn how the program works Navigation Change Topic aie Introduction 2 You have to decide whether a sound is higher or lower than the middle frequency between bands Listening Ear Trainer a7 Introductory Lessons listening ear trainer Introduction Difficulty to assign a a pitch to a note name Learn how the program works Navigation Or you have to decide which of the two notes the sound is nearer Listening Ear Trainer 58 Introductory Lessons listening ear trainer Introduction Difficulty to assign a a pitch to a note name the sound is nearer Learn how the program works Navigation Change Topic FreviousPage NextPage Dist Introduction Since fixed tuned instruments like the piano produce notes for the 12 tone equal temperament we hear these notes much more often than the sounds making up the flipping pitches By flipping pitch we mean a sound that is in the middle of two adjacent notes Therefore it would be very difficult to use the higher or lower than the middle note approach To improve your ability to differentiate between closely adjacent pitches you would need to train with an instrument th
64. at relative pitch is sufficient for their needs For relative pitch training a structured progressive method 1s included Our methods base the learning process for pitches and intervals on the same principles as learning a foreign language Improve your skills by actively bolster sound associations with pitch names Listening Ear Trainer 5 User Manual Absolute Pitch Trainings Methods Our methods will teach you to better differentiate sounds by their pitch And thus you will learn to recognize musical notes by their name Note names and pitches In music notation each note represents a specific pitch depending on its placement on the staff In the equal temperament tuning system the pitches jump by a semitone or half step The physics of sound may not be important for every learner to understand but here s an explanation for those who are interested The semitone is the frequency change from one note to the next nearest note and is always the same The frequency of the next note higher is always 1 059 times larger than the current note Likewise the frequency of the note lower is always the current frequency divided by 1 059 The exact multiplying or dividing factor is the twelfth root of 2 which equals 1 05946309436 In Western music the concert pitch A is defined to swing with a frequency of 440 Hz Given this frequency and the multiplying factor all pitches of the other notes can be calculated This gives us distinct different f
65. at can produce such sounds between two notes The best way is Learn to sing accurately Since your voice will probably produce pitches which are in between the 12 tone scale this will give you the chance to listen for the deviation and to correct the pitch With the singing method you will always conceptualize a note with your inner ear before singing it Listening Ear Trainer 59 Introductory Lessons listening ear trainer Introduction The solution is Learn to sing accuratly Once the pitch is in your imagination you have to adjust your vocal cords to produce the desired sound Learn how the program works Navigation Change Topic Quit Introduction When you express the conceptualized pitch by singing the external feedback will tell you how precise you have remembered and reproduced the tone Listening Ear Trainer 60 Introductory Lessons listening ear trainer Introduction The solution is Learn to sing accuratly The external feedback will tell you how precise you can remember and reproduce a tone Learn how the program works Navigation Change Topic Quit Introduction To achieve absolute pitch you have to remember pitches accurately The exercises in this method will help you to repeat a pitch consistently and with increasing precision Reaching a precision lower than 20 cents may require voice training because you need constant airflow and must avoid vibrato in order to produce a clean soun
66. at you can pass the lesson without hassle The method continues by expanding the number of notes to 3 5 8 13 and finally to 18 notes Since the allowed tolerance is still more than two whole tones it should not be too difficult to pass the tests even so it will get more difficult you have to remember how to produce the associated pitch for more notes That 1s your mind has to store and build distinct patterns for more different notes Listening Ear Trainer 143 Inside our Methods Once you have mastered this level you start again with the first two notes However this time the allowed tolerance is narrower In this way the task to remember how to produce a certain pitch exactly requires more attention At the same time your listening skills will improve That is your ability to determine the deviation from the target pitch will increase Failures with the narrower tolerance will occur again However since we track your progress you know that you could do it for a larger tolerance Go back and verify that indeed you could make a progress that lasted Maybe you have to repeat the previous level again but you will reach that last level again much faster Therefore you can say that at least partially the sounds did stick with you Practice will ensure that you will fail less and less Or in other words you can produce and therefore recognize the pitches to ever better accuracy levels Introduction The Singing Funnel Method Explained
67. ation i Pause Continue P Quit Exercise Quit Note in the dialog box above that the count in the P8 button changed from a black zero to a red one You can now rehear your answer and or the correct answer This is a very important step you should not skip if you were incorrect for it allows you to discover in what way your answer was incorrect and to hear in your head the difference between it and the correct answer Compare the two intervals to figure out what characteristics you were watching for and what characteristics you should have been listening for What are the properties that make out that particular interval For better memorizing it helps tremendously if you can also listen to familiar traditional songs that start with the interval in question In a first step learn the relationship song title and starting interval by heart as you would learn a vocabulary Don t worry about remembering the whole song or every musical detail The brain learns the relationship between a melody and the song title just by listening to the song So it is just the relationship of the song title to interval and interval to song title that you want to memorize first In this way for each interval name you always have an associated anchor melody or song with which you can compare The absolute pitches of the song are most likely not the same as the absolute pitches played during the exercise but the interval s characteristic is the same The
68. ay The same might happen for recognizing triads and finally you will recognize a chord progression as a natural rule However this is a long process it will not happen over night Those who acquired absolute pitch during childhood also took a year or two to associate musical names or terms to those sounds and these will come with practice To acquire absolute pitch with the singing funnel method you have to focus first on reproducing a particular sound That is you have to remember imagine and aim ahead to the sound you want to produce before you start singing This is you inner ear It has more to do with positioning your vocal cords than with listening Remember when you say Ah or Oh you give your vocal cords precise commands so that the desired sound comes out You can do this for pitches too We provide the perfect method to build your pitch memory Listening Ear Trainer 46 Introductory Lessons To produce the same sound over and over again you have to relax and then tense your vocal cords to a remembered level listening ear trainer Introduction Absolute pitch criteria Official Note C 4 In this way you can always produce the same pre tension and comfortably sing the desired note with the same pitch Navigation Change Topic DUTEA MECOHUCETON 5 6c Since automatically singing a pitch accurately involves listening skills you can improve your recognition abilities through singing by transforming you
69. b under the GNU GPL with none of the additional permissions of this License applicable to that copy 3 Object Code Incorporating Material from Library Header Files The object code form of an Application may incorporate material from a header file that is part of the Library You may convey such object code under terms of your choice provided that if the incorporated material is not limited to numerical parameters data structure layouts and accessors or small macros inline functions and templates ten or fewer lines in length you do both of the following a Give prominent notice with each copy of the object code that the Library is used in it and that the Library and its use are covered by this License b Accompany the object code with a copy of the GNU GPL and this license document 4 Combined Works You may convey a Combined Work under terms of your choice that taken together effectively do not restrict modification of the Listening Ear Trainer 192 License Agreement portions of the Library contained in the Combined Work and reverse engineering for debugging such modifications if you also do each of the following a Give prominent notice with each copy of the Combined Work that the Library is used in it and that the Library and its use are covered by this License b Accompany the Combined Work with a copy of the GNU GPL and this license document c For a Combined Work that displays copyright notices duri
70. be much more difficult Therefore we have made separate exercises that guide you slowly in getting a feeling for the notes absolute positions The separate exercises include just the predefined sets of notes that help you to progress with the least amount of difficulty The exercises also have a training mode listening ear trainer introduction Overview Exercise Recognize the Note DB Trainings mode Se gt a s to exclude in the test by clicking on the desired notes gt TES 6 a s 6 C 5 5 D 5 E5 F 5 f fi n J te fhas also a trainings mode gt A n e i C4 C 4 D4 D 4 E4 F4 F 4 iS d SS I G 5 to 5 fo F o iy o 5 fo D3 E3 F 3 A a A uv J A o 9 9 9 9 9 9 o fo o fo ch py pe F 2 G2 G Instrument flute Tempo 60 Time limit 5000 Show Rehear Buttons Control Start Exercise Learn how the program works Change Topic HUTE IMbrocuGtIon jac In the training mode you can decrease the number of notes for the training You can also decrease the tempo in order that the sound of the note lasts longer You can also increase the time limit so that you can identify the pitch s name at a comfortable pace The training mode also allows you to set the instrument to voice so the pitch is sung with the solf ge syllable making it simpler to guess the correct note The instructions show you how to set the options so that they correspond to the first exercise
71. best learning process is to first discern the characteristic of the interval and then apply it to any absolute starting pitches The second overtone is the Perfect Fifth which lies nearly in the middle of the octave and thus is easy to distinguish The Tritone is in the exact middle and therefore the largest distance away from the octave pitches at either end So why did we not choose the TriTone as the next interval Listening Ear Trainer 115 Exercises to learn Because the method does not use the distances to grasp interval characteristics but tries to discern overtones already present in the sounds Since the Tritone is not the next tone in the overtone series the magnitude of the Tritone s overtone is very small And more important since other overtones preceded the Tritone many intervals will also be present in a TriTone This leads to a much more complicated sound or frequency situation than we get when choosing the Perfect Fifth as our next interval to learn The Perfect Fifth is the strongest overtone after the Unison and the Octave It is important that you learn to distinguish the pure similarities with as few distractions as possible Going step by step lends less confusion since if you are unsure you can go back to the previous stronger and less complex sound relationships and compare against them The third overtone lies at two octaves Since we are only interested in simple intervals we skip that overtone The next overto
72. ccssecccceeeeeaeeeeeeeeeeeeeeeeeeseeeeaeeeeeeaeeeeeeeeeeeeaeeeeeeseeeeeseeseeesensesseseeeaenses l Welcome to Listenine Ear Trainer LE Theresia tans 5 Absolute Pitch Traiminos MethOds creiere E E 6 Note names ond Pite NE Scene a E Cee 6 Minimum pitch precision to differentiate notes cccccccccccsseccceececeeeceeeeceeaeeceseeceeueeceaecees 6 The overwhelming diversity Of Pitch asnrrorarpai niat EA E A A T E 7 The sineme FUNN EMO sanninna sate reiachascdaadstetetectatataalataw 8 Learning to recognize pitches through singing by using muscle MeMOT cseeeeeee ees 9 ihe Octave Anchor Prcies NCUIO Gx een cesderw shea n eed eee eee ee ee 10 WV MAES new inour MC UNOC Ss eenia cere tacts asada aac esses eae 12 Relative Pitch Traning s Method sese ea a a a a emaseouermnash menses 14 Intervals ANG pC MCS ea nar E NS A A T 14 Learn to recognize Intervals by identifying similarities 00 0s0nnnsoennsoennseensseerssseesseeesss 15 The l terval Overton Method seuren a r 16 What is unique to this method neennsenesensseesseesseessseessrsseressrsseressressressressressrrssressersseeo 18 O e EE E E E aan E ane a ee ee 19 Installation Macintosh cccccccccccccssecccceeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeseeeeeseeeeeeaeeeeeeaeeeeseeeeeeaeeseeseeeeeeaens 20 losta laton WING OWS untsecatc insane neocon ee ee ee 24 PSE Ws ONS Cras cae as sane ocict trie secie A A TAT E T 35 SS S ieee tak cee ss E ides oats cand sated e
73. ce real instruments produce overtones we can build intervals between any two overtones an instrument produces Since the intensity of the overtones decline with the overtone number the order in which the overtone occur 1s important for the hearing experience With each overtone a new interval characteristic 1s revealed Let us go through the occurrence order of overtones and their inherent harmonic intervals To visualize the overtone series let us look at a string that vibrates with 131 Hz the note C3 First we have the fundamental tone with no overtones With only one tone you can build only Unisons Physically the most simple wave length change is to half the wave length Since a string has the freedom of form the original string can also swing with this shorter wave length Thus producing the first overtone the note C4 Introduction Visualize the Overtone Series Interval Overtone Series Relative Pl Amplitude 08 0 6 0 4 0 2 Frequency 0 131 262 392 523 654 785 916 1046 1177 1308 f 3f at 5f 6f 7i af of 10f 2 c3 C4 G4 C5 E5 G4 bBS C6 DG EG nearest note Proposed Learning Order f Interval Characteristics Navigation Change Topic Quit Introduction Since the overtone sounds at the same time as the fundamental a harmonic interval of a Perfect Octave can be heard Listening Ear Trainer 152 Inside our Methods That means almost every sound will have as a strong overtone an
74. consistency how much you vary around your mean frequency II Octave Anchor Pitches Method The milestones for the Octave Anchor Pitches Method are Confidence and Certainty Since we allow a great deal of uncertainty for instance in the first exercise of the Anchor Pitches Method the first milestone you have to distinguish notes that are an octave apart You will find that you can reach that goal with confidence and from there proceed to the next milestone exercise By adding the most similar tones to the ones just Listening Ear Trainer 12 User Manual learned you enlarge your repertoire gradually If you find yourself not progressing to the goal of the exercise go back one level to make sure you can confidently identify the notes of the lower level Third prior to having enough computer power it was not feasible to manually collect data for individual notes and to calculate mean and standard deviations Nor was it feasible to do the bookkeeping or scoringof identifying notes to track progress Today s computerized collecting and analyzing of performances allows for a systematic progression using statistics or bookkeeping Both Octave Anchor and Singing Funnel methods allow you to improve your ability to recognize pitches and assign them the appropriate name in a systematically guided way We provide the tools to obtain the necessary feedback and track your progress Listening Ear Trainer 13 User Manual Re
75. cy in Hz from the acceptable samples of your performance Your Standard deviation The number in this column is the calculated standard deviation The smaller the number the less your pitch observations overall deviate from the defined frequency Graphical Display of the mean and standard deviation This column graphically shows you your mean pitch and variation around the pitch in terms of its relation to the real frequency Chronological statistics A chronological statistic of your progress 1s described in the next chapter Inside our Methods Tracking the Progress Listening Ear Trainer 130 Inside our Methods Inside our Methods For Absolute Pitch training trying to imitate a pitch through our vocal cords seems to be the most effective way to grasp a sense for absolute pitch Since we use the same muscles for to speak as for singing a pitch our methods use the same techniques as for learning a foreign language For Relative Pitch training we isolate interval characteristics along the way overtones and therefore intervals occur By learning the interval characteristics in the order as they appear naturally we can use an exclusion approach to identify new interval characteristics Pitch recognition skills Pitch recognition exists in many forms recognition of specific pitched sounds e g we recognize that the dial tone was the same as last time and the times before There are many pitched or un pitched sounds
76. d within the method s precision tolerance However a precision of 50 cents is sufficient to claim absolute pitch and should not require voice training In the lesson Instructions we will have a closer look at how the exercises work Listening Ear Trainer 61 Introductory Lessons Instructions Absolute Pitch This lesson shows you how the exercises work The Singing Funnel exercises listening ear trainer introduction The Learning Box Acquire absolute pitch by using a learning box Learn how the program works Navigation Change Topic Quit Introduction Similar to learning vocabulary for a foreign language we make use of a Learning box Instead of words the Learning box contains pitch sounds However since it 1s very hard to remember pitch sounds we start by building muscle memory of vocalizing the sounds That s right Instead of listening you are asked to actively sing the notes as precisely as you can Thus once you can produce sound pitches correctly they move towards the last bin in the Learning box Listening Ear Trainer 62 Introductory Lessons listening ear trainer introduction The Learning Box a a A O AYA you will repeat words which you fail to remember correctly more often Y Correct Answer y Wrong Answer Learn how the program works Navigation Change Topic Quit Introduction neok Incorrectly remembered pitches will go back to the first bi
77. e only a few notes that are an octave apart The process of adding other notes is not random it builds on the overtones At the first glance it would seem easier to add the tritone that lies in the middle of the octave since this would be the tone with the greatest distance to the already learned notes But the process 1s to learn to differentiate similarities Therefore we should first learn to distinguish the strongest overtone from our first notes As we add notes based on overtone strength we will start to make errors Therefore we have to go back and reassure ourselves that we can still recognize the previous Listening Ear Trainer 7 User Manual notes with ease And yes you will see that this is possible In this way you make progress by building on previous learned knowledge The tracking of your progress is the most effective way to learn We will get feedback that you have understood the subject The Singing Funnel Method Listening Ear Trainer helps you to sharpen your ear One method we use we call the Singing Funnel Method The Singing Funnel Method IDE amp A4 Get acquainted with the Recognition Process Produce Lesson 1 480 cents Lesson 7 220 cents Lesson 13 120 cents Lesson 19 75 cents Lesson 25 50 cents Lesson 31 33 cents Lesson 37 25cents Lesson 43 20cents mM Absolute Pitch Lesson 49 16 cents sn Lesson 55 12 cents a Lesson 61 SOMS e a Increase Con
78. e order of their overtone occurrence respectively our proposed learning order Introduction Visualize Overtone Relationships Isolated Overtone Characteristics ame ee ng ese E C SP g J t FIATI Pai M7 m3 m6 Pl P8 PS P4 M3 M6 M2 m2 m7 td In this way we can show why we want to learn to listen for interval characteristics one by one Resemblance of Interval Characteristics Visualized Navigation Change Topic x pusPag NextPag Quit Introduction This allows us to explain why we want to learn the most similar or most difficult to differentiate interval characteristics first Since the overtones come naturally in an order and are always simultaneously present we have to add all previous characteristics to the characteristics we try to hear Listening Ear Trainer 162 Inside our Methods Introduction Visualize Overtone Relationships Isolated Overtone Characteristics OOOO _ of a a P8 P P4 M3 M P1 OOOD 6 m7 A Cumulated Characteristcs as Normally Heard PQQOE PEEP 9E9 2 Ny Then every characteristic after the octave characteristic Will also contain the Octave characteristic i Resemblance of Interval Characteristics Visualized Navigation The fundamental characteristic is of course always hearable as the dominant sound The first overtone the Octave has less intensity but will be present anyway Thus every characteristic after the octave characteristic w
79. e some notes and slowly add the remaining notes to your repertoire Use the C Major anchor points you ve learned to classify the added notes This way you can recognize the note C sharp for example as between C and D Listening Ear Trainer 92 Exercises Introductory Lessons Relative Pitch Introductory lessons are the only animated lessons of the method They explain the concept of relative pitch and how our program helps you to improve your interval recognition Introduction Relative Pitch This lesson gives a short overview of the definition of relative pitch and introduces you to the most basic relative concept in music the intervals What is relative pitch When you listen to a melody you follow its changes both in rhythm and pitch A change can be described as an absolute event or as one relative to the previous state Since the starting pitch is only relevant in relation to subsequent pitches in carrying a melody change is expressed in terms of relative changes in order to better describe a melody As long as the relative changes stay the same a melody can easily be recognized as a particular song regardless of its starting pitch see the Silent Night example under Learn to recognize Intervals by identifying similarities in the Welcome section of this manual For pitch changes musicians use interval names to describe the change For example a melody might go up a Major third or down a perfect fifth or may
80. e the pitches of all instruments Do you have to recognize very low and very high pitches too What about loudness and duration of sounds There are so many variations of pitch that it becomes difficult to define the goal of ear training Ear training is often associated with the question Do you have perfect pitch Therefore our simple common goal is to improve the ability to come closer to an absolute ear Now often the term perfect pitch is used instead of absolute pitch The word perfect makes you believe that you must answer yes to all the questions in the first paragraph But that is not true if you take a test you are usually allowed to answer a certain amount of questions incorrectly and still you can pass Therefore do not let yourself be discouraged by the word perfect The term perfect pitch should be used when somebody can produce a pitch that fulfills specific criteria If you hear somebody who is in perfect harmony with the accompaniment you may say he she 1s perfectly on pitch Even so when the arrangement is tuned to the note A4 to swing with 444 Hz instead of 440 Hz you are still in perfect harmony when you have tuned your instrument also to 444 Hz for the note A4 For the recognition process we use the term absolute pitch since this categorization connecting a pitch to a note name 1s based on absolute pitches e g The frequency for the note A4 1s 440 Hz For the learning process it is ve
81. e want to learn the characteristics in the succession of their similarity Now what do we mean by most in common The interval overtone development Every natural sound has overtones A pure pitch is a sinus wave Compared to a real sound the sinus wave sounds very dull Listening Ear Trainer 150 Introduction Interval Overtone Development Sinus C3 E Amplitude Time Following the Overtones to easier differentiate Inside our Methods Flute C3 compared to a real sound Amplitude Time Navigation Change Topic Quit Introduction If we look in the frequency domain the spectrograms look like this Introduction Interval Overtone Development Sinus C3 Flute C3 Whereas the flute has several additional small peaks Relative Amplitude Frequency 0 131 262 392 523 654 785 916 1046 1177 1308 f 2f 3f af 5f 6f 7f 8f of 10f c3 C4 G4 C5 E5 G4 bBS C6 D6 E6 nearest note Listening Ear Trainer Following the Overtones to easier differentiate Relative Amplitude Frequency 0 131 262 392 523 654 785 916 1046 1177 1308 fi 2f af 3f 5f 6f 7i 8f 9i 10f c3 C4 G4 C5 ES G4 bBS C6 D6 E6 nearest note Navigation Change Topic Quit Introduction 151 Inside our Methods The pure sound has only one sharp peak at 131 Hz whereas the flute has several additional small peaks These peaks represent higher frequency pitches that are called overtones Sin
82. eady presented Listening Ear Trainer 17 User Manual It might be easier to distinguish the interval of a tritone from a unison or octave than to distinguish a perfect fifth from the same since the tritone has a very dissonant sound and therefore is easy to distinguish We will continue our training with the perfect fifth however because the triton s very complex sonority contains all the other intervals as overtones to a certain degree Hence it may make it more difficult to learn to differentiate other more similar intervals later because they can be confused with the tritone which also contains these characteristics You should follow the order that has the least distractions as it is easy to recognize the special property of a perfect fifth Thus you can easily concentrate on the pure distinct differences between the unison the octave and the perfect fifth With the tritone it will be very difficult to hear a special property since the special properties of other intervals are also present In this way it makes sense to learn the special properties one by one even if it 1s harder to distinguish in the beginning Once you have mastered distinguishing the most similar intervals you can upgrade your differentiation skills by adding a new interval with its unique characteristic You will focus on learning the interval s characteristic until you can differentiate it from patterns learned before When you have succeeded to differentiate
83. ear speaking sentences she never had actually said for example in our dreams Thus we construct our sound imaginations which can be so precise that we cannot distinguish them from real sounds Recognizing Pitch From the above reasoning we can conclude that pitches too get stored in muscle memory at least as a basic attribute People who have absolute pitch but do not actively sing I assume perhaps have built a relationship during childhood from the brain s memory to at least one pitch This may have happened during the bubbling phase where an active uttered pitched sound pattern got stored along with a pitch attribute Other pitches may be determined later by relative pitch without the necessity of actively producing the sound Recognition of those other pitches will take place as fast as recognizing vowels unconscious to us as a separate step The recognition process is the same as for words if a match can be found we can name the corresponding note name The recognition process for note names can be as fast as the recognition process for words Since a meaningful sound goes along with the stored muscle pattern your inner ear will make use of this storage Just as you can mentally hear words without speaking them you can hear pitches in your inner ear without singing them The production of a correct pitch through singing can be as easy as saying Ah Now that is slightly exaggerated if you do not sing everyday
84. early represent the function of a note within the scale than do solf ge syllables Listening Ear Trainer 128 Registration Statistics Pitch Center Tendency Statistics The program collects statistics data to help you identify your weaknesses In the Select Lesson screen instead of choosing a lesson you can see the statistics by pressing the statistics button listening ear trainer User Test User Tessitura high Note Statistics No of Note Samples samples Note Your Presentations Observed Respected Frequence Mean 5 425 335 262 257 0 0 oer n a 255 293 294 255 0 0 Talal n a 170 a7 530 eg 170 170 349 355 0 0 aro n a iro 170 TIEZ 385 0 0 415 n a Zaa 246 440 441 0 0 466 n a sd 170 494 497 ziala 244 523 aiy 0 3 0 2 2 0 2 0 5 0 2 3 Navigation Change Page Quit Statistcs Recognize Trends The statistics are organized in several pages Pitch statistics for the note range C4 C5 Pitch statistics for the note range C3 C4 Pitch statistics for the note range C2 C3 Pitch statistics for the note range C5 C6 The pitch statistics appear as in the above screenshot There are nine columns gt Note In this column the note name is displayed under Note Solf ge syllables correspond as follows to the note names Syllable gt Note name Do gt C Di Ra gt C Db Re gt D Listening Ear Trainer 129 gt Registration Ri Me gt D Eb Mi gt E F
85. earn how the program Semi Navigation Change Topic Quit Introduction In the above sample the notes C4 D4 E4 and F4 were selected for training After finishing the selection the following screen is presented Listening Ear Trainer 65 Introductory Lessons listening ear trainer Bull s eye 50 cents Scores introduction Sing Exercise Overview PItchhck D a Notes Moved 0 Tempo 60 Bull s eye 50 cents you will hit the bull s eye when you match the pitch within the displayed deviation Learn how the program works Navigation Change Topic Quit Introduction The exercise you choose sets the precision with which you must hit the pitch all the way up to the bull s eye So the further down the singing funnel you get the more precisely you have to sing the pitches To build an association of the pitches to sounds we recommend that you sing solf ge syllables Do Doh Re Ray Mi Mee Fa Fah etc Listening Ear Trainer 66 Introductory Lessons listening ear trainer Bull s eye 50 cents Scores introduction Sing Exercise Overview PItchhck D SS Notes Moved 0 Tempo 60 8 E T lol a A S E OO 3 J F4 That is Do Doh Re Ray Mi Mee Fa Fah Learn how the program works Navigation Change Topic Quit Introduction meok If you have chosen to do the training with
86. edly see the system console log for error messages If the problem can be documented by a recording export the recording and send it along with an error description to the address given below Troubleshooting tips Check to see if you can download a newer version with the same major version number If so back up your old version before installing the newer one and try reproducing the error If no pitch curve is displayed check the sound control panel to see that the default input device is working correctly If the input level is too low increase it with the slider If this does not work you may have a microphone not suited for that input channel Expensive microphones often need special pre amplifiers The input channel must support microphones line in input channels expect a higher voltage signal than what is provided from standard microphones There may also be a separate control panel for your digitizing device to adjust the sensitivity check your hardware manuals If you hear a lot of background noise make sure nothing else 1s disturbing the audibility If there are clicks chirps or audible hissing you might have unshielded microphone cables picking up electro smog or the microphone itself picking up a grumble from the 50 60 Hz power outlets Try to reposition the microphone cables Make sure that the volume level display is in the correct range If it is quite the sound control panel should show zero input level indicator lights otherw
87. ee iieiaei EE NEE EAEE EE 105 Whatisan mterva l CnaracterisiC 5 tars Gein uh a when Gadus E A EE N EAN 105 Theoretical Back GrOuiiG aaa 109 Toe TnteryalOyernone exere SE oA A N A 113 Per SS Ra A call e r E a A O N 117 Ascendino Miya i oa Saar ates Bet tah aie a van ean oa a OTEO T aa 118 Re cosnizine Ascending Pl and PS iscscviss co cpacnssaaghetssasteanecasgeateccsoeaus daageetoatspnaxssaaietacgveekeeees 118 AGOE FASC CII GP Oishi cechatitnate te aahanetealt tet teceitansaiatih Muuhataloalatee uch nadnetahestachadeaest ee 123 Adds Ase CIN ITN Pi eee hai acca stag totes atten tein ve E I tases tae 123 Fats Gunn fom AS eade M Ie Renee eters tment ete ene eat Sear a Tn re ee oe oe 124 PUGTIN Ce NGC CIVIL WO seers cael uce otal ccta ne NE A NNE TENT 124 AJIM ASC CUCING M Zurari a n E OE A AAN 124 Adde Ascende UT 55s ad Gh aims tor ee a E a ce wh da A ET ET E 124 Harmoni yv Ator AUS cei edie th raed cal a ins ee ia ea cata hn aa Baas ated Baca ETA 124 Recognizing Harmonic Intervals P1 and P8 cece cceecccceeeceeeeeeeeeeeseeeeeeceeaeeseesaeeeeeas 124 AOGAS TAN Ul bck Seen ei meen ne en eer nde wn te aR ed OnE eer ee RO een 125 Pcie Witery dl Ps scasucseteaniessisastorwpeesteninensuqueteasheearcatiere teankensienseemateseencleasi naire 125 Addie latery M cs cofus teh set eh sans dors aeoud 8 neous dud aaa yh ea gues Oss auayh oe ee E eae ee a eee 125 Addn MERN aM 0 ee ent eet te ee ee ee ge ea 125 PROG TACHI AMI Ie e a E ates pet Meanaunatc
88. efinition the concept of intervals spans all keys starting on any note in the spectrum we think it best not to rely on a specific musical or key centered context Although a context helps us by narrowing the possibilities to likely notes and combinations to assign an interval name to a sound the context also result in a disadvantage as you must examine so many contexts before you have grasped the property of an interval in all Situations Our direct approach in acquiring the interval s characteristic relies on intervals already present in pitched sounds as a relationship within the overtones a sound contains And these characteristics ratios are the same for each starting pitch Therefore we avoid the musical context and use the overtone effects of the series to grasp the characteristics of each interval To reach that goal however a direct measure is needed to discern how close the pure interval characteristic is grasped Our method provides this feedback A count for each interval tells you how many times in a row you have answered this interval correctly An incorrect answer resets the count to zero When the count reaches 7 the color of the count for that interval changes to green and the number stops increasing The interval will still be given as a question from time to time so don t be surprised But if not mastered the interval will go back to the pool of non mastered intervals which all have a count of zero Since an ove
89. efore the display changes to show the detected pitches That means you cannot use visual feedbacks in the test mode to reach your goal but you should still try to correct any errors as soon as the visual feedback 1s shown As with Learning boxes for words in a foreign language the goal is to move all the notes to the last bin If you succeed in remembering the notes correctly move on to the next lesson Listening Ear Trainer 71 Introductory Lessons listening ear trainer Bull s eye 50 cents Scores introduction Going from broad to fine tuning PELCHMLE D n Notes Moved 0 a Tempo 60 J 9 C4 D4 7 J If you succeeded to remember the notes to such a wide tolerance Learn how the program works Navigation Change Topic Quit Introduction f 0 00 The Learning box helps you to improve your weak notes and your ability to imagine a sound With each lesson the requirements increase so the further down the singing funnel you are the better you must remember the pitches Attention The aim here is not that you have to do all levels of precision It is enough if you can produce the notes to a tolerance of 33 cents which 1s better than the 50 cents required to claim absolute pitch In this way you have some reserve and therefore can more confidently name the notes To reach a precision of smaller than 20 cents requires voice training In such training you wou
90. eningEarTrainer Listening Ear Trainer 2l Installation i ListeningEarTrainer Select Installation Folder The installer will install ListeningE arT rainer to the following folder To install in this folder click Next To install to a different folder enter it below or click Browse Folder C AProgram Files Algorithms4ndD atastructures ListeningE arT rainer Choose your folder location and click Everyone so that persons with a separate login on your computer can also run the program The confirmation Window appears Listening Ear Trainer 28 Installation ig Liste ningEar Il rainer Confirm Installation The installer is ready to install ListeningE arT rainer on your computer Click Next to start the installation Click Next to start the Installation Listening Ear Trainer 29 Installation ie ListeningEarTrainer Installing ListeningEarTrainer ListeningE arT rainer is being installed Please wait a Cancel Listening Ear Trainer uses OpenAL for sound ListeningMusicTeacher needs OpenAL click ok to read the license file Click Ok and you will be presented with the OpenAL License Agreement Listening Ear Trainer 30 Installation OpenAL Installer apg Open t AL License Creative Labs Inc is providing you with this OpenAL32 dll installer and other OpenAL files Software You may use and freely integrate with your software applicatio
91. ens LOM MACOS Derse cannes cavanaegaactaaacnayenanenacanacnieenaneraeenaasals 190 De Opens LOW OWS errena aaan a an nana 191 A MIO NOU OIG aei EEEE EEE EE 194 Sa FANO party elt ar GS 5 5scccsmeseeneseoassedswsseannsnnaaqedaen E RA EE 195 MUSICIN SOUN S e E E a eeeetecion 195 DT ASS P E E E P E A I A cea rte E A E E Raa hates 195 TIE T E E E E T A E E T E E E E 195 Mrinal OnO NaDa aaa a teed atin anten teu aedl cats 196 PRC PUNT Me ONC ci asserts odor eerste nc are tre Soon avs dais sae oa tested opment one ene ae 196 Privacy oc 0 8 eee 196 Conton law and Severa Dili Yaoi norio O EOE OOO 197 Listening Ear Trainer 4 User Manual Welcome to Listening Ear Trainer LET Listening Ear Trainer is a software that helps you to improve your listening skills Both Absolute and Relative Pitch skills will be covered with our unique methods that are explained below so you can know what to expect The free trial lets you estimate the amount of effort you have to put into the training in order to achieve for instance absolute pitch with the Singing Funnel Method Our method measures the deviation from the target pitch in cents So 1f you master an accuracy level of 75 cents for 18 different notes you are not far away from attaining absolute pitch To claim absolute pitch you must be able to determine the pitches with a score of better than 50 cents We understand that for many users the effort to gain absolute pitch 1s not worth the time and th
92. ensively with the already learned notes and the new notes When you are ready for the next step the method continues by adding the next strong overtones the Fs Now there are 13 notes to choose from and you will have to listen more carefully to distinguish the notes But you will see that it is still achievable because you are in this special setting If you make too many errors you may need to go back again to the previous level with less notes to refresh the already learned pitches Now if you think that it is not worth the effort since you never will find yourself in such a special setting trust us if you can distinguish the notes in this special exercise settings you will be proud that you can observe the progress note by note To generalize the skill to other instruments can be done later Listening Ear Trainer 147 Inside our Methods The important point is you can track your progress You will also realize that the process how to learn to differentiate pitches itself is what you really needed to get going on the pitch recognition path Inside the Interval Overtone Method The Interval Overtone method contains exercises to improve your relative pitch sense An effective way to learn to recognize relative distances of pitches is to have reference songs that start with the 13 possible simple intervals Introduction Intervals and Melody Beginnings Perfect Unison Happy Birthdar minor Second lAs ti Major Second
93. ent specifically vertical arrangement In case of doubt you can return to and listen to the melodic interval with your inner ear The order in which you will learn the harmonic intervals is the same as for the melodic intervals beginning with the Perfect Unison and Octave Adding Interval P5 Then add the Perfect Fifth to your repertoire Adding Interval P4 Then add the Perfect Fourth Adding Interval M3 the Major Third Adding Interval M6 the Major Sixth Adding Interval M2 the Major Second Adding Interval M7 and finally add the Major Seventh to your repertoire Compound Intervals Recognizing Compound Intervals P1 and P8 So far we have only covered simple intervals Compound intervals are larger than an octave and since the octave is such a strong overtone it is often treated as irrelevant to illustrate musical concepts Of course compound intervals have their own characteristics but since the upper sound is much farther away mastering the identification of octaves is better done through an absolute approach Thus you should use the Octave Anchor Pitches method to differentiate the octaves of the two given pitches Listening Ear Trainer 125 Exercises The following exercises are excellent applications for the Octave Anchor Pitches method You will also find it helpful to assign a pitch to an octave number or locate it in relationship to the octave For compound intervals the use of an
94. ercise Learn how the program works Navigation Change Topic airas daea eee 5 4 Similar to the Octave Anchor Pitches method you can select Trainings mode to include and exclude individual intervals if you wish to do training outside the curriculum Here the following options are available gt Instrument Here you can select flute or Sinus The Sinus sounds are pure and should produce fewer overtones in your headset or speakers In training mode a male voice can be selected that will sing the solf ge syllables Attention If you set the instrument to Sinus you will need a good headset to hear the low notes Mediocre loudspeakers tend to fail Listening Ear Trainer 118 Exercises when reproducing frequencies below A2 110 Hz The flute sound has more overtones and thus will be easier to hear gt Show Rehear Buttons After each test this option will display two buttons that allow you to rehear your answer or the correct solution This helps you to better understand your error If you do not hit one of the two buttons the test continues with the next note after a second or two gt Training mode If selected additional training options are available gt Exclude include intervals In training mode you can include or exclude a single interval by clicking on that interval By clicking on Exclude Octave you exclude the whole octave from the test By pressing Only C Major you select onl
95. es We allow that on the road to your goal The Octave Anchor Pitches method has a similar approach in the way that it starts with easy to distinguish far apart notes an octave You then close the gap s by adding notes that are closer together Again be proud of each level you master it is your road to successfully reach your goal absolute pitch Second we use a systematic approach Our methods as described under the first point guide you from the broad ideas to the details During this process you get acquainted with the learning process itself How to differentiate pitches How to recognize pitches How to memorize pitches The methods are organized similar to projects The project goal is to attain absolute pitch In achieving the goal you must pass important milestones In our methods each exercise 1s a milestone that lend confidence in developing your ear I Singing Funnel Method The milestones of the Singing Funnel Method are Precision and Consistency Since you will allow yourself to make large errors you will observe how your development occurs Once you ve begun consistent practice you will always seek the tool required for the next milestone In the statistics display provided in the method you will receive information for each note showing the defined absolute pitch frequency and your mean and variance for that note The mean frequency shows your precision how close you are to the defined frequency and the variance shows your
96. es or musical training in any form our society hands out no rewards for having absolute pitch Absolute pitch becomes only a relation between a frequency and a name For example the Stuttgart Conference of 1834 recommended the frequency of 440 Hz as the concert pitch A4 see http en wikipedia org wiki Concert_ pitch In contrast relative pitch helps you to stay in harmony with others Our brain prefers to generalize concepts and then to apply these concepts afterwards Listening Ear Trainer 78 Introductory Lessons listening ear trainer introduction Relative Pitch is more Important My brother goed to the school That is you probably will say My brother goed to the school Learn how the program works Navigation Change Topic Quit Introduction Quit For example as a child you go through a stage in which the brain generalizes grammatical rules Thus you might say My brother goed to school instead of My brother went to school The brain has yet to learn exceptions and does so in a separate effort Relative pitch is a general concept used in music systems throughout the world It is based on physical laws The starting frequency determines the overtones which harmonize with that frequency The key center of a particular piece will outline all the notes we might use in order to stay within the harmony of the piece To detect a frequency and assign it a name is just a naming process that need not include that
97. esecccececeeeceseeceeseeceseeceeseeceseeceseeeesaeecesaeseeaeeceseecesaaess 88 PA DSOMILS PETIZ COIS srra e E E ONN ERE 88 EXO SONIC OIC Mie E rechten er stented E aican nena ce qansneeccnnen aes NE 88 Listening Ear Trainer l User Manual The Octave Anchor PICNES CXC CISeS circu 2 cect E a ENE EN N 89 Recognize TCC Saar e cc hstcacdedsdeusuansiaustenndeudiessbouededsieadnssseanodeusiendiessuqmedeasieudvansienss 89 Adding the GS cececccccccseeecceeceeeeeeeeeeeee ee eeeeeeeeeeeeeeeeeeeeaeeeeeeeeeeeseeeeeeeeeeseeseeeeeessaeaseeeeeesanaeeees 91 ASNE ooa tte ge rt er St re on E ee 9 Aadne IEE So sirscoe tub taesecenrsamoetaasdciean anand ylneas eusenaeqnai anand a pun canna sana saaseraanedaanss icon aeeea egos 9 Addo eA wc cee ee nen ema eT Oa oe On enon eee eee ee ee en eee eer 9 Addim NC Doerr ea eE teastendnersuenaled si vedvanstonetedshendusnsheuateneendeasierstsasienduensienes 92 PROTA TCS Sirnea e r e E G 92 Recognize ine NO ea cae eee ee ee 92 Introductory Lessons Relative Pite reris rira inni r ong tala ctalte alate Rlpa dace Salata Reel cial toate lye laa th Sa 93 lnfoducHon Relative Pue iren T ieee ers eee 93 Woa N 0 LL aN A T a aeRO 93 Intervals COMIC mMiBree Mayol Sarau an E A E 95 Frequencies and semitones ss sseesseesseesseesseessserserssrsseressreseressressressrrssrrsserssereseresereses 95 Dat aE e EE E E E E E 97 ANAVE NVa LNE rA A 103 Narrow and Wide nival aieeaa ea a a eaa 104 Instructions Relative Pite e
98. ess To stay motivated to continue something it is important that you can see progress Therefore we have introduced a timeline statistics The timeline statistics will show you 1n numerical and graphical form where you stay Introduction TrackingTheProgress Timeline Statistics Total Attempts Sing_480_2 Sing_480_3 Sing_480_5 Sing_480_8 Sing_480_12 Sing_480_18 Date Succ Miss Succ Miss Succ Miss SUCE Miss Suce Miss Succ Miss SUCC Miss 21 May 13 14 20 May 13 28 19 May 13 28 18 May 13 28 17 May 13 28 16 May 13 28 15 May 13 28 14 May 13 28 13 May 13 28 12 May 13 28 11 May 13 28 10 May 13 28 9 May 13 28 8 May 13 28 May 13 28 6 May 13 42 5 May 13 4 4 May 13 53 May 13 2 May 13 0 0 0 0 0 0 0 0 0 a So O O OGOOGO oo oo oo 8 oc co amp D O Oo oo gc 2 4 ao Pocono coco Co co DO One OS ee O NWA G OOOOOOOOOOGOOGOOOO0OOOO Wwe GOO US Oe 6 oO ora So eG a oo oS ON AU ARG OD GG oOoWnrF oo coo ec ooe oc 8 co oO GOG COON WKH OOOO ooo eo oo co oO CoO LS oo GNF oo oOo oo Co oc CO 8 oo Oo amp WhRoOOoOCO oO oO fo Seeing Progress is what keeps us going Navigation Change Topic m Hurt Incroduction via In the numerical view you see to the left the dates of your trainings And in the columns you see for each lesson the successful and missed attempts for that day In the graphical view you see a graphical representation of the ratio correct to false answers In the graphica
99. et ese ee Sos A Baie ha es eae R T 38 SCICCE LESSON PE XCICISG icici cicrateieteadicasuerateaniendueasteaateisd eeddansenetennivedieasecsmvanniandieseueusteasieaavensiares 39 Introductory Lessons A Dsol te PIHCH cii c2scadsee saeassbasesadeuseaesddanasgsdsmasaandenaaenin see E ETTET 4 Introduction Absolute Pile irice n a E we ee 4 NVA LS ADS OIE PIC peasecsnet dace edeea E E ohana ela aes eee kaa 41 Everybody has perfect Pins ajscdiecondadasicganahaieindndaesedan shed dnbadenesaewahe deeds tu nbedeydieindsdaenodendhoaiedees 49 Instructions ADSON Pite 8 rere estan at eine tt er nr on ree a te re ee oe nen 62 Te Sine PUNE CXC CISES aranne tedden as i Dad ev AEA N 62 The Octave Anchor Pitches exercises cccccccccseeccceescceeeeeceeeeeeceeeeceeseeeeeeeeeeaeseesaeeeeas 73 Ex Teses FN SONIC IUCN estas cesth ai es acct chased eka Pakage eh testa ala celta tale Daksa tie 8h rata aha aa 82 Tie Smee FUONECLEXCECISCS 422504 tin iri abet aaaandchaeadabngadenbst cdebea cau at adatennatauhn ees 84 Absolute DIL Cele GONG oN Sect saa esta soe ae ee etna ee eg at es ee te 84 PADSOMe Pile Ne 20 CCI sect beh E E ou E eae ee OE ea aes 87 ADS 1 ey 166 0a O24 OCET goiana E E EN ee ee 87 ANDSOIULE PINCH 7 CES ea canta cia E E E 87 PL DSOMITC DICKS OC A aa a a Aa 87 ADSON DIEM o CENS area T T Sn ne aid Gade eden eee 87 ADOLE PEIZ CENS rana E E E E NENE EE O ENEE 87 ADSOMILE PEN 20 COINS e e A E E E E 88 Absolute pitch 16 Cents c ccc ccccccecccc
100. etween a pair of already known ones In this way the Perfect and Major intervals will give us an orientation grid where to place the minor and Tritone intervals Listening Ear Trainer 160 Inside our Methods Introduction Use Interval P5 P4 and M3 Combinations Total Points half Click the Interval Major Seventh steps you heard TOUT AEE HAE TEETE Simple Interval Halfsteps O Combinations of P5 P4 and M3 to build Intervals Navigation Change Topic Quit Introduction From a musical standpoint we think that it is best to start the learning process for the minor intervals with the minor Third It is musically contained in the Major triad as the upper interval To summarize here is our proposed order for learning the intervals Perfect Unison Perfect Octave Perfect Fifth Perfect Fourth Major Third Major Sixth Major Second Major Seventh minor Third minor Sixth minor Second minor Seventh Tritone Visualize overtone interval characteristic relationships To emphasize that the order in which you learn the notes or intervals is more important than the speed with which you progress we visualize the relationship between interval characteristics and the learning order Listening Ear Trainer 161 Inside our Methods We represent each interval characteristic with a symbol a circle represents the fundamental Then the intervals are represented as polygons in th
101. example you can hear the voice of your mother with your inner ear but the majority of the sounds will not be stored as patterns but as attributes Dialect region Accent foreign language speakers casual vs formal speech omissions swallowing endings or attributes like croaky harsh hoarse rough cracking sharp etc will be stored and assigned to a speaker The storage of sound pattern seldom makes sense since it makes more sense for the brain to store only the meaning When we hear our mother with our inner ear we supplement the meanings with the attributes associated with her and mix them with stored raw sounds from the long term memory Of course our parents play a major role in this process In our early childhood much data will be stored as raw data Later this raw data will be used as building blocks to understand and produce sounds Throughout life meanings will be associated to sounds and we also develop the ability to differentiate other attributes From our parents we collect and store many attributes and at first we precisely hear our mother with our inner ear However not all data from our mother will be stored as raw data Especially when we get older the brain accumulates enough attributes to start managing and thinking using meanings instead Thus as we grow the brain begins to store meanings and only links them to our mother s attributes We might even hear our mother s voice with our inner
102. fidence conz E U GQ The association of pitches to solmization syllables Do Re Mi speeds up the calibration process of the ear Copyriht 2013 by www AlgorithmsAndDatastructures com The program starts with recognition exercises that accept a large tolerance That is to pass the first level you may be off more than two whole notes and still will be evaluated correct In this way you get acquainted to the recognition process With each lesson the tolerance range gets smaller Therefore as you go from lesson to lesson your confidence will increase that you can hit the notes with a smaller tolerance You will also know when a heard pitch meets the requirement that the frequency is near enough to the defined absolute frequency and therefore the pitch can be assigned that particular note name The important part of the learning process is to go through the Listening Ear Trainer 8 User Manual stages of narrower ranges In this way you learn to hear and get a feeling for the deviation in cents That is for example you can say the organ 1s 20 cents or 33 cents off the perfect frequency If you have to accompany the organ with an instrument you cannot change the tuning of the organ but you can tune your instrument to the pitches of the organ Important You cannot do this with your perfect tuned pitchfork because you have to listen to the organ and tune your instrument so that the pitches of the organ and your instrument match and harmo
103. g The scoring allows you to track your progress If several users are using the program the person with the highest score is also listed Take this challenge as an invitation to get better You can also make two or more profiles for yourself for example a morning user and an evening user In this way you can compare your performance depending on the time of day Listening Ear Trainer 83 Exercises The Singing Funnel Exercises The Singing Funnel exercises are organized in levels Each level stays for a precision you have to reach In each level there are 6 exercises The first exercise in each level ask for only 2 notes to be sung then the following exercises add more notes 3 5 8 13 and finally 18 notes If possible you should expand your notes vocabulary to a whole octave before continuing to the next level Absolute pitch 480 cents This exercise is the entry point to the funnel Your task is to conceptualize the first note in the card deck that is to hear it in your head and then adjust your vocal cords to produce the desired sound But before you can start the exercise you have to select some notes We recommend that you start with a few notes you can sing comfortably You can add or remove notes any time by selecting the Show exercise options in the lesson s dialog box before starting the lesson The exercise options for the Absolute pitch cents exercises are listening ear trainer Select Opt
104. g a particular note stop the exercise and remove the note from the selection altogether Do not unnecessarily stress your voice with inconveniently selected notes The score continues indefinitely so even when you have moved all notes to the last bin you can continue testing yourself Starting an exercise sets the exercises to do count to 25 But does not reset the score and the cards stay in the bins where you left them Absolute pitch 220 cents This exercise is the same as the lesson Absolute pitch 480 cents but the tolerance allowed here is only 220 cents The diminishing cents in the following exercises force you to be more precise than in previous exercises Absolute pitch 120 cents This exercise 1s also the same as Absolute pitch 480 cents but the tolerance allowed here is only 120 cents Absolute pitch 75 cents This exercise is also the same as Absolute pitch 480 cents but the tolerance allowed here is only 75 cents Absolute pitch 50 cents This exercise is also the same as Absolute pitch 480 cents but the tolerance allowed here is only 50 cents 50 cents is the minimum requirement to claim absolute pitch Absolute pitch 33 cents This exercise is also the same as Absolute pitch 480 cents but the tolerance allowed here is only 33 cents A tolerance of 33 cents should be achievable without special voice training This tolerance gives you the needed confidence that will show in your perfor
105. gh to compensate the pitch increase through the increase of the sonic speed and thus the flute deviates from perfect tuning Since all notes of the flute are affected all notes will sound higher The guitar on the other hand tends to produce lower pitches since the expansion of the strings 1s larger than the expansion of the neck Listening Ear Trainer 76 Introductory Lessons As demonstrated with the product Listening Music Teacher differences between simultaneously played notes can be easily heard because the interactions produce an overlapping dynamic effect So when the flute and the guitar play the same note the flute a little bit too sharp and the guitar a little bit flat you will recognize an increase and decrease of the loudness of the combined sounds with a low frequency If these effects are small it does not seem to hurt the overall experience of the music But if as a musician you can hear such subtle differences you are advised to tune your guitar to the flute even so the flute is off the equal tempered tuning Instruments that harmonize in tune sound much better than those not in tune A tuning fork perfectly pitched to the equal tempered scale will not solve a tuning problem between instruments You must listen instead to the flute when because of the weather it has gone off its equal tempered tuning A side remark to avoid confusion The increase of the sonic speed of the air does not change the frequency during trans
106. he absolute pitches of the involved notes Again we use a learning box to learn to listen for specific interval characteristics Introduction Interval Learning Box Click the Interval you heard Simple Interval Halfsteps Overtones generate Harmonic Intervals As with the single note s recognition process we start with a simple repertoire of only two interval characteristics the Octave and the Unison The fact that the Unison sounds just like one sound and not two different notes makes it easy to differentiate the intervals The method builds on adding new intervals to already known intervals To recognize a new interval characteristic we use the approach by exclusion That is we recognize an added new interval characteristic by learning to differentiate the new interval characteristic from the already known ones Listening Ear Trainer 149 Inside our Methods Introduction Interval Learning Box Halfsteps Perfect Perfect Perfect Unison Octave Fifth That the exclusion method is effective we have to learn to differentiate the intervals that have the most in common first Overtones generate Harmonic Intervals Navigation Change Topic Quit Introduction That the exclusion method is effective we have to learn to differentiate the intervals that have the most in common first That is because interval characteristics that share a lot in common are the most difficult to differentiate w
107. he instrument to Sinus you need a good headset to hear the low notes Mediocre loudspeakers tend to fail when reproducing frequencies below A2 110 Hz The flute sound has more overtones and thus will be easier to hear gt Accept as correct from For a note to be considered correct you must hold the pitch within the chosen tolerance for a minimum of Accept as correct from samples Lowering this number allows the user to have more glitches since the sung answer is accepted as correct with fewer points The maximum of correct samples you can reach is dependent on the tempo For a tempo of 60 the maximum is 86 gt No Animation Pause This option allows you to go faster in the singing training Normally the note tested gets moved to its new place with animation This takes some time which is good since the Listening Ear Trainer 85 Exercises next note is more difficult to construct from the previous note if the time period between two notes is longer This way you can build your answer less on relative pitch However to improve your sound production ability these additional pauses are not necessary and you can set this option to move more quickly from one note to another gt Show loudness This option will display the volume level of your singing The optimum volume is shown when the displayed bars are purple Orange means the volume is too loud and brown means it is too soft gt Tempo In decreasing the tempo you must
108. hold the note longer Increasing the tempo will shorten the time between note presentations However this option may interfere with the option Accept correct from since there is less time available to make enough points When done with your selection click Go The exercise will start with the selected options The exercise window appears as follows listening ear trainer Bull s eye 50 cents PitchHit 64 Notes Moved 1 Tempo 60 Navigation Change Topic PreviousPage NextPage Quit Introduction Quit Here the options Show Pitch Progression Show scope and Show loudness were chosen In this sample the note C4 was sung or played long enough in the desired tolerance to be accepted as correct the arrow still hit the target Thus the note got a green frame and will be moved to the next bin The notes D4 E4 and F4 in the first bin will also move forward If not the select Random Note Every comes in play then the note D4 the next in line will be tested next Listening Ear Trainer 86 Exercises If you have selected Training mode a button labeled Move Note allows you to simulate a successful hit This 1s useful 1f you have selected notes with which you have difficulty you can simply move the note to the next bin Moving the note from the first bin will allow you to continue working with other notes Or if you have substantial difficulties to sin
109. ight No Calan etd pia Ti Length 0 00 4 TE untitled l Save As Date Size 0 byte Audio Format PCM Format PCM Format Conversion PE a Altnbutes 18 000 kHz 8 Bk Mono T kb sec v A Eidere 32 000 kHz 16 Bit Stereo 14 100 kHz 8 Bit Mono 44 100 kHz 8 Bit Stereo 44100 kHz 16 Bit Mono Choose trom Recordryg fommats Listening Ear Trainer 186 Registration Registration The fields for registration are in the User Select dialog box in the Registration frame listening music teacher Listening Music Teacher User Management Ckick your Name from the list or add a new user Tessitura Tessitura Add User Admin Password Activate needed for delete Users Registration Serial Number Paste from clipBoard Buy Serial Number and Activation Key Control The fields of the Registration frame are defined below gt Serial Number Here you can enter a serial number manually Normally you do not have to enter a number here since during the ordering process the serial number will be entered automatically If you reinstall you must enter the serial number again We recommend that you paste the serial number from the order confirmation email with the button labeled Paste gt Update This button reads either Activate or Deactivate If the product is not registered you must go through an activation process by entering the serial number a
110. ilding up the sound in your inner ear Of course the goal is to strengthen your inner ear however on the way to your goal you will also include separation of different actions and attributes Have you ever observed a person mimicking another She or he not only uses the voice but the muscles all over the face and body Thousands of years after the Stone Age muscles still play an important role not merely for walking Dyslexic people can learn to differentiate right and left by remembering in which hand they hold a spoon training in muscle memory until that association becomes a reflex These observations all tend to support the idea that we have muscle memory for sounds If we did not you could still substitute muscle memory for the sort of memory you know exists or the researchers find which will have at least a positive effect on the recall of sounds and pitches Why use solf ge syllables Fixed Do solfege syllables support the process of assigning pitch to singable syllables Over time one gets better at producing correct pitches until it is as easy as saying Ah or Oh The Singing Funnel method lets you do exercises down to a precision of seven cents so you can be very confident of hitting a particular pitch solely with the use of muscle memory If you relax the mind can more easily remain open for new information and will allow the true sounds of solf ge syllables without processing to enter short ter
111. ill also contain the octave characteristic The same is true for the perfect fifth characteristic and so on Introduction Visualize Overtone Relationships Isolated Overtone Characteristics coh r in a N 0000 OOo A J Fl P8 PS P4 M2 M7 m3 m6 m2 m7 T M3 M6 4 Cumulated Characteristcs as Normally Heard POO LOOOO OOS g0 The Tritone interval contains all other overtone intervals characteristics in it Resemblance of Interval Characteristics Visualized Navigation Change Topic PreviousPage EGER Quit Introduction Quit The tritone interval contains all other overtone interval characteristics in it Listening Ear Trainer 163 Inside our Methods While it is true that it 1s easier to distinguish a tritone interval from an octave or unison than a perfect fifth from an octave or unison it does not make sense to learn the Tritone first Since in our systematic learning approach we want to learn the characteristics one by one it is much simpler to differentiate between only two interval symbols and therefore it is easier to learn the interval specific characteristic in a step by step approach than to extract a specific interval characteristic from complex sounds which are accompanied by other interval characteristics Introduction Visualize Overtone Relationships Isolated Overtone Characteristics _ N ers a k E aii Pi Se C CACIA JI 0 L AA FIL hE
112. important for survival Therefore recognition of this part of sound receives special treatment in our brain Hearing and speaking are highly interrelated and this relationship begins during childhood When we learn to speak we listen to what comes out of our mouth so a child learns to actively control the means to change an uttered sound into a desired direction The activity of speaking involves our muscles which can be accessed by the brain as an additional association or link to Listening Ear Trainer 173 How do we remember sounds and pitches sound Thus sounds that we can reproduce can be processed differently by the brain than sounds we cannot In the next paragraphs we will focus on this highly developed area of the brain concerning sound Sound memory and muscles To be able to reproduce a sound we use our muscles although in daily life we are not aware of using them either for standing in place walking or talking The main function of our brain is to control our muscles and it took thousands of years for the brain to master its control and to react to such muscle requirements as walking on two feet Our balance system which resides in the ear or our perception of visual changes in the environment are actually not the primary sources of input stimuli that keep us vertical Arguably the necessary muscle changes that keep us standing on two feet are based on automated reflexes which the brain controls only peripherally i e
113. ince more relationships to other intervals exist and the specific characteristics start to blur Copyriht 2013 by www v AlgorithmsAndDatastructures com Recognizing by Exclusion requires comparing sounds Navigation Change Topic Quit Introduction From the fourth overtone on which reveals the Major Third interval characteristic we have to strain one s ears Since there is no new overtone needed to build the Major Sixth the new Major Sixth characteristic is equally present when we learn the Major Third However since we have now a basic repertoire of characteristics we can start to combine them and to place them into then already known grid of intervals The step by step approach makes the identification process easier since we can rely on the fact that the new to learn interval characteristic 1s unique and different from the already learnt ones Listening Ear Trainer 166 Inside our Methods Introduction Method Differences Total Points half Click the Interval Perfect Fifth steps you heard A D E A A F i Simple Interval Halfsteps 0 lt 5 7 g The step by step approach makes the identification process easier since we can rely on the fact that the new to learn characteristic is unique and different from the already learnt ones Recognizing by Exclusion requires comparing sounds Navigation Change Topic Quit Introduction Method differences In the Interval Overtone me
114. ing then again around mid day and another in the evening You may find that your perceived recognition and performance 1s different at various times of the day Listening Ear Trainer 181 FAQ FAQ What do I get for my money Your payment allows you continued use and access to all lessons on the computer where the software was installed There is no warranty on the software but we will try to fix any errors If you discover a software fault please notify us However tracking down errors on machines other than ours is very complicated therefore please use the software in the trial mode first Your payment allows you to use the program for requirements described in the Set up Operating system changes may render the program unusable and we give no guarantee that we can fix the program if used with another system What happens if I do not register after 100 days You break the rules but we hope you will not Many people will try this program for free and they are allowed to do so for 100 days If you still want to use the program after 100 days it seems that the software is useful to you therefore paying 1s only fair Where do I get support There is no telephone support hotline but we are interested in improving the product If you find errors or experience program crashes let us know Tell us also about documentation errors sound errors or any other suggestions for improvement of the program If the program stops unexpect
115. ions PitchSensitivity 220 Select the notes to include in the test by clicking on the desired notes ze D 3 A3 5 s 9 3 5 z o o fo o o o f c 3 D2 pb E2 F2 F 2 G2 G 2 A2 AR B2 G3 Trainings mode Show Pitch Progression Play Note Show loudness Show Scope Accept as correct from Random note every No Animation Pause Control Start Exercise Change Lesson From the entire block of 48 notes you can choose up to 18 notes In fact to reach the maximum points possible you have to select 18 notes But be careful not to run before you know how to Listening Ear Trainer 84 Exercises walk Start slowly and add notes as you progress You will have to make these selections for all levels so you might select different sets of notes at each level Choose only notes you can sing comfortably Do not stress your voice If you find yourself doing an exercise where you have difficulties humming or singing the note you selected stop the exercise select Show exercise options and remove the note s from the selection At each level you have two sets of notes One set for the test where all competing users have the same difficulty level and one set for the training mode where you can get various help options to make your task easier When you choose Training mode the additional options below that mode are accessible The points you reach d
116. ise some electrical interferences are around Listening Ear Trainer 182 FAQ Send all the information e g Computer Model RAM graphic card audio equipment etc that might be helpful in resolving the problem to Can I print the statistics Unfortunately this version does not contain a print feature You must make hardcopies of the windows by pressing the Print button for Macs use the application grab from the utilities folder or press Command Shit 3 Why the elaborate licensing terms Is the use of software all at my sole risk In today s modern world where everybody can sue everybody for everything one has to be cautious If you are a super soprano and can break glassware just by singing please do not blame Listening Singing Teacher for your destroyed property we will not pay for it in such circumstances Even worse if you are a bass who could destroy Jericho Jericho was brought down by sound waves according to the Bible hopefully you do not live in New York Software is very complex and computers are configured in different ways some have problems of there own so even the order in which you install the software may be important and we cannot predict the behavior of the program Therefore the risks of downloading installing or running the software are yours If you fear that this software will destroy your computer or data do not download install or run it We cannot guarantee that the server from where
117. ition of pitch to the acquisition of a foreign language Comparing the Acquisition of Absolute Pitch to the Acquisition of a Foreign Language Babbled word Mamma English German The mother Die Mutter This tells us that the words of a language have to be learned by the child Absolute and Relative Pitch Recognition Skills Navigation Change Topic Quit Introduction First we see that there is no innate word for Mamma usually the first word a child speaks The term mamma is built up from speech sounds that are easiest to produce The English representation of the word 1s mother In German for example the word for mother is Mutter Therefore the words of a language have to be learned by the child Since the pitch alphabet is man made the same rule applies it has to be learned similar to the acquisition of words Listening Ear Trainer 132 Inside our Methods Comparing the Acquisi 698 46 Hz 659 26 Hz 622 25 Hz 587 33 Hz 554 37 Hz 523 25 Hz 493 88 Hz 466 16 Hz 440 00 Hz 415 30 Hz 392 00 Hz 369 99 Hz 349 23 HZ 329 63 Hz 311 13 HZ 293 67 Hz 277 18 HZ 261 63 HZ p of Ab te Pitch to the Acquisition of a Foreign Language F5 ES b ww o Therefore this pitch alphabet has to be learned somehow similar to the acquisition of the words alphabet Second the biggest part of our vocabula
118. ity The note 6 half steps away from C lies in the middle and continues in purple as a full length line in the color comparison picture showing the inverted intervals Since the note is not part of the C Major scale this interval is not called perfect or major or minor In early music history this interval was called the Devil s chord because of its dissonant sound Since six semitones are three whole tones the interval name was abbreviated to TriTone Introduction Completing the 12 Simple Intervals ec oO o ewe O Halfsteps O al 2 3 4 5 6 i 8 10 alal 12 Perfect minor Major minor Major Perfect Tritone Perfect minor Major minor Major Perfeci Unison Second Second Third Third Fourth Fifth Sixth Sixth Seventh Seventh Octave minor Seventh Introducing the Tritone Navigation Change Topic F sPage Page afre neal 5a c Listening Ear Trainer 102 Exercises Alternative interval names Intervals can also be named chromatically ANA listening ear trainer Introduction Chromatic Intervals serationes aa POT nrvate aaa MO AUS 0 Perfect unison P1 Diminished second d2 o Play helpinto 1 Minor second m2 Augmented unison Al Semitone sS P Play help info 2 Major second M2 Diminished third a3 Whole tone T P Play helpinto 3 Minor third m3 Augmented second A2 P Play helpinfo 4 Major third M3 Diminished fourth d4 e Play helpinto 5 Perfect fourth
119. ive you the necessary feedback to identify the pitch and name the note Since you know how to say Ah you also know how to recognize the sound Ah How do you recognize a sentence from a bad recording By re listening and probably whispering the sounds of the sentence again thereby looking for a possible match The active speaking whispering helps you better focus on the recognition process With Listening Ear Trainer your listening and recognizing skills should get better because you are repeating the learning sounds Listening Ear Trainer 9 User Manual experience of your childhood You will learn to control your vocal cords in order to change the outcoming sound in a desired direction The visual feedback makes it easy to see the direction you are heading If you are familiar with the process of how to increase or decrease your pitch it is just a matter of training until you can do small and precise increments or decrements of a frequency to reach a desired frequency It may seem odd to learn to sing precisely in order to improve your listening skills But as a child you do just that You listen to the effects of your efforts to change your outcoming sounds This actively acquired knowledge helps you to identify vowels and consonants When you are born you do not identify a sound just by listening There is no pattern stored in your brain to recognize for example Ah You have to actively experience it And uttering the sound is
120. ks in favor of the learning process the uses for absolute pitch are rare and seeing real proven progress is not easy However in the latter point we can help you by tracking your progress And for the first point we see one reason to motivate you orientation Let us compare musical orientation with locating a place Listening Ear Trainer 139 Introduction Ka Inside our Methods Charlton g ti Garder lt TSA i Ri Walk down to the next junction turn left and then by the 4th crossroad turn right lia eens 3 1 aie u S E a 5 163r Sy Is this ft _ Dunbar crossroad3 amp E Piayground TO i Hilton White or Playground lt a this P ay s 4 Batey nner arder Absolute orientation points such as a church a railway crossing 200 fi a warehouse or a street name will give you more confidence 100 a in the directions and confirm that you are on the correct way Grove Hill Pitch Acquisition Skills Map data 2013 Google Edt in Googe Map Maker Report a prol Navigation Change Topic Quit Introduction For example the relative instructions after 4 crossroads turn right might still get you into trouble if the third crossroad turns out to be a very small intersection Did the directions count it as a crossroad or not Absolute orientation points such as a church a railway crossing a warehouse or a street name will give you more confidence in the directions and confi
121. l Second Interval Third Interval It sounded like there were three single notes played along the C Major scale Intervals A relative Concept Navigation Change Topic Avis Une WeieWetq a4 4 Since indeed harmonically played unisons from identical instruments are difficult to differentiate from single notes it is difficult to point out an interval property To explain the interval property we therefore play three intervals Two of them are Unisons and one 1s a Perfect Octave It should be fairly easy to find the Perfect Octave among the Unisons Listening Ear Trainer 105 Exercises OO listening ear trainer Introduction The Semitone the smallest distance First Interval Second Interval Third Interval Which interval did not sound like a Unison Using semitones to describe the distance Navigation If you can find the Perfect Octave then you have learned to listen for interval characteristics Listening Ear Trainer 106 Exercises LOO listening ear trainer Introduction Unison or Octave Feedback First Interval Second Interval Third Interval Congratulations You have learned to listen for interval properties Using semitones to describe the distance Navigation In the first demo of the Unisons you learned in fact the property of the Unison It sounds like one sound You then can identify the Perfect Octave by excluding the Unisons Listening Ear Trainer 107 O00 listeni
122. l view for space reasons only every third training day is displayed as well as only the main topic is listed in the title column However there is still a success failure bar for each day and exercise For example under the title Sing with a sensitivity level of 480 cents the first column stays for the exercise with 2 notes Listening Ear Trainer 168 Inside our Methods Introduction TrackingTheProgress Total Attempts Sing Sing Sing Sing Sing Sing Sing Sing Sing Sing Sing Single Asc Date Succ Miss Sten S222 ule Bae tSo B58 foso B20 765 Saia Sur Notes Int 135 IJUTRH13 0 TO 0 Pen a NA Bae E 0 4 Jul 13 0 14 Jul 13 14 28 Jun 13 14 25 Jun 13 14 22 Jun 13 14 19 Jun 13 14 16 Jun 13 14 13 Jun 13 14 10 Jun 13 14 77 Jun 13 14 4 Jun 13 14 14 Jun 13 14 29 May 13 14 26 May 13 14 23 May 13 14 6 20 May 13 28 12 Under the heading 480 cents precision the first column stays for the exercise with 2 notes MAmOATWTAMWAwAWAAwAwAwmnAwAwmoodonde 17 May 13 28 12 14 May 13 28 12 41 May 13 28 12 Jla 8 May 13 28 12 5 May 13 42 18 a 2 May 13 42 18 55 Seeing Progress is what keeps us going Navigation Going from the bottom to the top you track your daily progress Going from left to right shows an increase in difficulty The results for each day and exercise are depicted as a small ratio bar Listening Ear Trainer 169 Inside our Methods Introduction TrackingTheProgress
123. later version published by the Free Software Foundation If the Library as you received it does not specify a version number of the GNU Lesser General Public License you may choose any version of the GNU Lesser General Public License ever published by the Free Software Foundation If the Library as you received it specifies that a proxy can decide whether future versions of the GNU Lesser General Public License shall apply that proxy s public statement of acceptance of any version is permanent authorization for you to choose that version for the Library 4 OggVorbis Copyright c 2002 2004 Xiph org Foundation Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of the Xiph org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission Listening Ear Trainer 194 License Agreement THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUD
124. lative Pitch Trainings Method With our relative pitch method you learn to listen for intervals The main feature of an interval is its relative characteristic For example for a Perfect Fifth the higher note is always 7 semitones higher relative to the lower note If two sounds are played together then the interaction of the two sounds produce a new property With the two pitch frequencies of the involved notes we can build a ratio For example for an Octave the ratio we get when we divide the pitch frequency of the higher note by the pitch frequency of the lower note is always 2 1 This new property forms the center of the recognition process The absolute pitch frequencies of the two involved notes vanish during the recognition process of relative note distances The distance always can be expressed as a ratio or in musical terms as an interval Intervals and pitches An interval describes the distance between any two notes In our Western music the semitone or half step is the smallest unit to describe the distance In this way any two pitches separated by 7 half steps upwards or downwards form the interval of a Perfect Fifth The positions on the staff and therefore the absolute pitch frequencies of the involved notes are irrelevant for the interval name Listening Ear Trainer 14 User Manual Overview Interval names Number Common Abbrev Chromatic Interval Abbrev Frequency ratio of Interval name High low v2
125. ld learn to control your breathing more exactly learn correct posture and to relax your vocal cords using loosening exercises e g singing rolling R s while going up a scale To produce an R your vocal tract has to be relaxed and at the same time the movement of the tongue will encourage the blood flow To reach the narrower precisions involves a great deal of training and time We recommend that you do this only if you have a good reason to do so Otherwise the required amount of time to reach that goal might lead to frustration Keep in mind that singing to such a high precision can be quite mundane Most songs deviate more or less from the optimal equal tempered tuning and usually emphasize the natural just intonation vibrato also gives a fuller sound Perfectly sung songs would sound robotic not human Use your freedom to be creative within allowed limits There may be one or two notes for which you will be able to reach a higher precision without special training Use those notes as references for those more difficult to find Listening Ear Trainer 12 Introductory Lessons The Octave Anchor Pitches exercises Since you probably do not have a 4 octave singing range but still would like to recognize all the notes in the range of C2 to C6 we have created the exercise Recognize the Note This exercise will test your entire vocal range However if you have not had much formal training in recognizing pitches this might
126. longer compare its sound to other notes you are on the right track Now go back to the Singing Funnel method With this method you learn to control the production of your pitches Start with a pitch you can hum comfortably You will likely be correct We strongly believe that at one point the brain feels the urge to hum the pitches through its muscle memory the best place to store single pitch hearing experiences This need not only mean that because you can hear a whole song in your head you have a musical memory There the memory is instead built on interferences between the sounds of different instruments Because more than one pitch is involved the relative distances between the sounds make the musical feeling As for relative pitch if you do any absolute pitch training exercises here chances are that you will also be training in relative pitch Since the brain gives you the correct answer based on the previous note you are no longer training in absolute pitch To demonstrate relative pitch the well known song Silent Night is played twice Listening Ear Trainer 75 Introductory Lessons listening ear trainer introduction Relative Pitch is more Important a A E7 E7 Ss mm a ap i J FTA Sry ee a EA gt 4 The second sample starts from 64 Tonpa 5 instead from C4 iis po a ho Si lent r ight y z
127. m memory Working with the Singing Funnel method allows you to receive the necessary feedback showing when you are on the right track Therefore you can be relaxed knowing that you sang a pitch correctly Later when you recall the sound you can rely on your muscle memory This confident and relaxed state helps the sound move from the short term to the long term memory At the same time it will be processed and associated with the solf ge syllable thus the corresponding pitch Of course this works only for Fixed Do Fine mechanics are involved in producing a sound using the muscles in your vocal cords to control the voice How the solf ge system helps to calibrate this muscle memory can be explained Listening Ear Trainer 175 How do we remember sounds and pitches with an analogous experiment which reveals the events in this process Follow the instructions below to learn more While standing stretch out your arms horizontally In order to know whether they are exactly horizontal you would have to have measure with a level of some kind Now do the same motion with closed eyes You will not be able to discern if your arms are horizontal or not but with an external guide person you could learn to position them horizontally with closed eyes or at any desired angle The external guide would tell you to raise or lower them You repeat this experiment until you have reached very good precision with closed eyes Maybe not perfect to the
128. mance that the pitch lies in the center of a note Absolute pitch 25 cents This exercise is also the same as Absolute pitch 480 cents but the tolerance allowed here is Listening Ear Trainer 87 Exercises only 25 cents Absolute pitch 20 cents This exercise is also the same as Absolute pitch 480 cents but the tolerance allowed here is only 20 cents This is likely the highest level you can reach without special voice training Absolute pitch 16 cents This exercise is also the same as Absolute pitch 480 cents but the tolerance allowed here is only 16 cents Absolute pitch 12 cents This exercise is also the same as Absolute pitch 480 cents but the tolerance allowed here is only 12 cents Absolute pitch 7 cents This exercise is also the same as Absolute pitch 480 cents but the tolerance here allowed 1s only 7 cents This last level is very challenging and not really needed Everybody has some natural vibrato in the voice To reach 7 cents you have to suppress this natural vibrato which takes the richness out of your voice Listening Ear Trainer 88 Exercises The Octave Anchor Pitches exercises The following exercises are listening only exercises Since the exercises follow a systematic you should not skip exercises You are advised to learn the notes thoroughly Since the method sharpens your listening skills by differentiating new notes from already learnt notes it is a prerequisite
129. minor Third Major Third Perfect Fourth Tritone minor Sixth Major Sixth minor Seventh Major Seventh Perfect Octave You really should start to learn the relationship of intervals to the beginning of songs Using Melodies to Recognize Intervals Navigation Since songs have an overwhelming set of information e g lyrics rhythm melody etc it is easy to remember them This allows us to go back to the beginning of a song and hear an example of an interval with our inner ear We believe in learning by doing and easier memorizing by doing To recognize something you must first have a reference in your mind Therefore it is important that you can build a retrievable association for each interval Unfortunately the human voice is not constructed to utter two pitches at the same time So the only activity we can do to memorize the sound of an interval is to sing or hum one note after the other Listening Ear Trainer 148 Inside our Methods Once we can recognize ascending intervals fairly well and fast for different starting notes we can melt the two starting sounds into one harmonic interval It is the harmonic interval characteristic that we want to learn to recognize The interval listening skill is being able to hear the frequency ratio of two pitches This frequency ratio makes up the characteristic sound of an interval This frequency ratio stays the same for a particular interval independent of t
130. n In this way you will repeat sounds with which you have difficulty more often Since it is unlikely that you have a voice range of 4 octaves we start by having you select a few notes you can hum comfortably Listening Ear Trainer 63 Introductory Lessons listening ear trainer introduction Select Notes to Sing Select the notes to include in the test by clicking on the desired notes g gr go gf X F F gt D 5 D 3 b g J J c po pb I Trainings mode Sh Pitch P 3 Pl Not First you select up to 18 notes ow Pitch Progression ay Note suse rani imate Show Scope Accept as correct from SA ee ee eS Random note every No Animation Pause Control Start Exercise Learn how the program works Navigation Change Topic Quit Introduction Until you have learned to produce the sounds correctly it is recommended that you also choose the option Show Pitch Progression This will give you visual hints about your pitch and you can more easily learn to control your voice Listening Ear Trainer 64 Introductory Lessons listening ear trainer introduction Select Notes to Sing Select the notes to include in the test by clicking on the desired notes g gr go gf 9 F Pa 2 c5 C 5 D 5 D 3 b gt n fF F amp F A a o o to z fo cS pz Dob G 2 A2 A 2 DA Trainings mode Show Pitch Progression Play Note Show Scope aS correct from Random note every ation Pause Ac 7O QVO Control L
131. n octave apart Despite the impression that this is easy you should not advance to the next lesson until you are sure that you can identify theses five notes without relative pitch skills That is you should not continue immediately with the next lesson on the same day Instead you should repeat the lesson the next day and only continue if you are successful Better yet before you continue to the next lesson wait until you can identify the five notes seven days in a row It is more important that you learn to differentiate the octaves and to get acquainted with the C characteristic than to progress fast The method will add new notes very slowly by adding just one other category of sounds to the already learned sounds You are advised to learn to recognize these old and new notes in this limited context until you can assign the pitches thoroughly to the corresponding notes Listening Ear Trainer 145 Inside our Methods When you are able to distinguish all Cs the method continues with all Gs In the exercise setting you will easily recognize when a note with a different characteristic the G characteristic is played since it will sound differently from the already learned Cs Since you can rely on that the new unrecognizable notes in the exercise will be Gs it should not be too complicated to assign the G to the appropriate octave Introduction The Anchor Pitches Method Explained xercises To Doj Total Points Click the Note a
132. n this we will take a closer look on music systems First we look at the standard Western music system listening ear trainer Introduction You have absolute pitch F5 E5 D 5 Eb5 D5 C 5 Db5 C5 B4 A 4 Bb4 A4 G 4 Ab4 G4 F 3 Gb4 Note that every half step is one twelfth 1 12 of an octave D 4 G4 Learn how the program works Navigation Change Topic Enews Quit Introduction Quit For those interested in the physics of acoustics which forms the basis of this method as explained in the introduction we note an important detail here The frequencies increase by a factor of the twelfth root of two from step to step In this way the steps form the equal 12 tone temperament which includes the 12 semitones of the octave But music is so diverse that there is room for other systems Since the equal tempered 12 tone system deviates from the natural just intonation many other systems are in use which try to minimize this deviation Listening Ear Trainer 49 Introductory Lessons listening ear trainer Introduction You have absolute pitch F5 Fb5 E 5 E5 Eb5 Notice that there are different new So a Bb4 Cb5 B 4 O Learn how the program works For example the 19 tone equal tempered system gives more freedom to describe the pitches since they include 7 more notes in the octave To demonstrate that you have perfect pitch we do the contrary we reduce the number of notes
133. nd then pressing Activate The activation process requires an active Internet connection If the Button reads Deactivate then the product is registered Deactivation may allow you to transfer the program to another computer However be aware that no warranty guarantees this process functions e g the other computer may have a unsupported OS see License terms Listening Ear Trainer 187 Registration gt Paste from ClipBoard This button allows you to paste the serial number from the clipboard You must first mark and copy the serial number in the email then come back here to paste the serial number You must still activate the serial number by pressing Activate see above gt Go to Shop If you use the product more than 10 hours you must buy it or else delete it To continue using the product click on Go to Shop and follow the instructions Listening Ear Trainer 188 License Agreement License Agreement License The software the documentation and any accompanying files are licensed to you by AlgorithmsAndDataStructures F Rudin Hombergweg 3 CH 4433 Ramlinsburg Switzerland By installing the software you are agreeing to be bound by the terms of this Agreement If you do not agree to the terms of this Agreement do not install the software and delete the files belonging to this software Permitted uses The license allows you to download install and use the software on a single computer You are
134. ndency to resolve to the lower tonic pitch C and the second third has a tendency to resolve to the upper octave C Depending on your musical background and fluency in different scales you may prefer the functional approach Our approach is straightforward in the exercises you hear only the relationship between two sounds without respect to a central pitch or tonic relationship In the equal temperament system the physical relationship as explained in the introductory lesson stays exactly the same for all intervals of the same distance Thus there are only 12 as in 12 semitones in the scale characteristics you must learn In a contextual environment of tonicization there are many more intervals to learn because of the many possible such contexts Our method tries to go directly to the goal of identifying intervals by learning the abstract characteristic of each However in the context of a key center a Major third played from C to E will not sound the same as a Major third played from G to B as we have heard these thirds almost always in such musical contexts And therefore it is likely that in the beginning difficulties to extract the specific interval characteristic the frequency ratio from the sound will appear In addition our ear is not linear it hears pitches in the middle range better than those on the edges of the sound spectrum This also makes it a little more difficult to discern specific interval characteristics Since by d
135. ne is a Major Third But before we learn the Major Third we will learn the Perfect Fourth Why Because an interval consists of two sounds we will also hear interactions of the second sound with the overtones of the first sound Not only will you hear the interval C to G a Perfect Fifth but you will also hear G to the C an octave higher While learning the Perfect Fifth you also hear the inverted relationship of G to C or the Perfect Fourth G to C inverted a Perfect Fourth demands you pay close attention to differentiate it from the Perfect Fifth Since the Perfect Fourth is already apparent 1 e has sounded while learning the Perfect Fifth you will in effect continue learning to distinguish the Perfect Fourth In the graphic above showing the harmonic series between the third and fourth harmonics note that the first overtone is the second harmonic Thus start counting overtones at the octave and harmonics at the unison The name we use Interval Overtone Method derives from the fact that the deviation of the overtone series is caused by the interval s own overtone of the fundamental pitch that is we learn the Perfect Fourth before the Major Third After the Perfect Fourth we continue with the next overtone sequence the Major Third The inversion the Major Third interval is the minor Sixth which is not part of the Major scale and thus less relevant as an overtone The minor third between the 6th and 7th overtone is also not
136. ng execution include the copyright notice for the Library among these notices as well as a reference directing the user to the copies of the GNU GPL and this license document d Do one of the following 0 Convey the Minimal Corresponding Source under the terms of this License and the Corresponding Application Code in a form Suitable for and under terms that permit the user to recombine or relink the Application with a modified version of the Linked Version to produce a modified Combined Work in the manner specified by section 6 of the GNU GPL for conveying Corresponding Source 1 Use a suitable shared library mechanism for linking with the Library A suitable mechanism is one that a uses at run time a copy of the Library already present on the user s computer system and b will operate properly with a modified version of the Library that is interface compatible with the Linked Version e Provide Installation Information but only if you would otherwise be required to provide such information under section 6 of the GNU GPL and only to the extent that such information is necessary to install and execute a modified version of the Combined Work produced by recombining or relinking the Application with a modified version of the Linked Version If you use option 4d0 the Installation Information must accompany the Minimal Corresponding Source and Corresponding Application Code If you use option 4dl you must provide the Installati
137. ng ear trainer Introduction Learning Intervals Halfsteps Perfect Perfecg You could easily spot the Octave among the Unisons Using semitones to describe the distance Navigation Exercises You will learn to differentiate the other interval properties the same way one by one You will exclude already learned interval characteristics Thereby you will explore and learn to differentiate the interval characteristics Finally you will hear the absolute interval property of the learned intervals Listening Ear Trainer 108 Exercises ore listening ear trainer Introduction Learning Intervals Halfsteps Perfect Perfect Perfect Unison Octave Fifth that you expand your repertoire by differentiating interval characteristics from each other Using semitones to describe the distance Navigation Change Topic PreviousPage NextPage Quit Introduction Quit Even so the curriculum follows a strict pattern you do not have to abandon other learning techniques Your brain is very flexible and adapts to the learning environment As soon as you start our exercises the brain will establish the context to this environment If not you will be set back to a level that you still have mastery of You very fast will catch up again And since you can follow the progress you make with our method the motivation to continue and improve should hopefully remain in place Theoretical Background Learni
138. ng to listen is different than learning to sing so each needs its own approach One goal of singing is to learn to control the voice which is easier to do in small steps To change the vocal sound just a little you have to change the tension in your muscles only a little Because such movements are subtle not much effort is needed to make a desired change This is one reason warm up exercises often start with small steps staying in a limited range before they graduate to larger leaps When it comes to listening however the main goal is to learn to differentiate between sounds Here the following rule applies the larger purer or more simply discerned the difference the easier the relationship between sounds is to recognize For interval recognition our strategy therefore is to learn to differentiate with as few distractions as possible Listening Ear Trainer 109 Exercises Every sound has a series of overtones These overtones make the sound richer and to a certain degree easier to remember since more impressions more colors in the sound let s say are associated with it However to be able to recognize intervals one must look for similarities between two pitches Thus we must pull from the sounds of two pitches the basic relationship occurring between them Since every sound has overtones every sound already has relationships to these overtones within itself In music relationships found in overtones are often called harmonics
139. ni G4 for example does not have a microphone input you have to use additional hardware like a computer compatible USB device capable of handling microphone inputs Important A line in is not the same as a microphone input If you do not have a microphone input you might need a pre amplifier Getting and unpacking the disk image The first step 1s to download the compressed disk image file In your browser go to www Listening Ear Trainer com and download the newest version Warning The file has about 120 MB and takes about 1 4 hour on a low speed DSL line After the download has completed you should see an icon on your desktop that looks like this ListeningEarTrainer dmg g Z The second step is to decompress the file Double click on it the archive Utility appears Archive Utility Unarchiving ListeningEarTrainer dmg gz Cancel Listening Ear Trainer 20 Installation After this task finishes double click on the new icon that was created h a ListeningEarTrainer dmg The Disk Image gets mounted On the desktop you should see the following icon LISteningeEarl rainer A double click brings up the Installation window Listening Ear Trainer 21 Listening Ear Trainer Adobe Installation Adobe License Agreement pdf Copyright pdf m P ae my Installer 22 Installation Installation Read the License Agreement and the Copyright before installing
140. ning Ear Trainer 15 User Manual the brain has learned to recognize relative deviations You may not be able to name the interval if you are not familiar with it or trained to listen for the relationship between the two notes But as you might deduce from the Silent Night example your brain has the necessary means to learn this skill It recognizes the similarities of melody e the intervals between different registers or instrumental and sung versions of Silent Night so all that is needed is the determination to learn to recognize intervals The Interval Overtone Method We have found that to learn best a progress indicator is needed in order for the student to recognize the goal approaching and as a place of refuge in case difficulties occur in achieving the goal Thus our method starts with simple melodic ascending intervals continues with harmonic intervals and finally introduces compound intervals Since the basic task is to learn to recognize similarities of two note relationships we progress from most similar tones to more complex sound patterns For instance in the Octave Anchor Pitch Method we follow the overtones contained in a sound However since the inverted intervals are also present in the sound since the first overtone the octave is always present we learn where appropriate the inverted interval that comes before the overtone occurs This deviation from the overtone series lends the Interval O
141. nize to each other This ability is called relative pitch recognition since you tune your instrument relative to the organ As you can see the key to ear training is to improve your listening skills so that you can recognize small pitch differences The term relative pitch is generally used to describe the ability to recognize a pitch of a sound relative to another note That is you can name the distance or in musical terms the interval from one note to the next To increase your ability to recognize small pitch differences as described with the example of the organ you must go beyond interval recognition To gain this ability you have to do exercises which will train your ear to hear smaller differences than 50 cents A good way to do this is to strive for absolute pitch Listening Ear Trainer s exercises will sharpen your ear and at the same time give you a feel for where the absolute pitches for the defined notes are Listening Ear Trainer allows you to proceed at your own pace Listening Ear Trainer is always ready for an exercise never gets bored and gives neutral feedback on what he has heard Learning to recognize pitches through singing by using muscle memory Most people missed the chance to develop the ear for musical terms during childhood Therefore the program returns you back to the situation when you learned to listen and utter sounds the way you wanted That is your ears controlled the outcome from your adjustments of
142. nking an Application with the Library The particular version of the Library with which the Combined Work was made is also called the Linked Listening Ear Trainer 191 License Agreement Version The Minimal Corresponding Source for a Combined Work means the Corresponding Source for the Combined Work excluding any source code for portions of the Combined Work that considered in isolation are based on the Application and not on the Linked Version The Corresponding Application Code for a Combined Work means the object code and or source code for the Application including any data and utility programs needed for reproducing the Combined Work from the Application but excluding the System Libraries of the Combined Work 1 Exception to Section 3 of the GNU GPL You may convey a covered work under sections 3 and 4 of this License without being bound by section 3 of the GNU GPL 2 Conveying Modified Versions If you modify a copy of the Library and in your modifications a facility refers to a function or data to be supplied by an Application that uses the facility other than as an argument passed when the facility is invoked then you may convey a copy of the modified version a under this License provided that you make a good faith effort to ensure that in the event an Application does not supply the function or data the facility still operates and performs whatever part of its purpose remains meaningful or
143. ns and distribute such throughout the world at no cost or further obligation to Creative NO WARRANTY ANY USE BY YOU OF THE SOFTWARE IS AT YOUR OWN RISK THE SOFTWARE IS PROVIDED FOR USE AS IS WITHOUT WARRANTY OF ANY KIND TO THE MAXIMUM EXTENT PERMITTED BY LAW CREATIVE DISCLAIMS ALL WARRANTIES OF ANY KIND EITHER EXPRESS OR IMPLIED INCLUDING Cancel OK Click OK if you not already have installed OpenAL The OpenAL Installer informs you about the installation OpenAL Installer Message x Installation complete Finally the installation is finished Listening Ear Trainer 31 Installation ike ListeningEar Trainer ListeningEar Trainer Information Thank you for trying Listening Ear Trainer Important QuickTime If it is not already installed on your machine you must download and install QuickTime from the Apple site www apple cony auicktime download Browse through the ReadMe file and then click Next Listening Ear Trainer 32 Installation ie Listeningtar I rainer Installation Complete ListeningE arT rainer has been successfully installed Click Close to exit Click Close On the Desktop you should find a Shortcut to ListeningEarTrainer Shortcut to ListeningEarTr ainer exe Uninstalling Listening Ear Trainer If you need to do so use Uninstall from the Add Remove Software Control Panel Listening Ear Trainer 33 Installation QuickTime Thi
144. ntify Interval GetExerciseAnswer Click the Note jau heard ZS Q Reset Counts 2 5 o J P1 P8 Elapsed Tinea 2 3 4 5 6 Fa 8 g 10 alal Simple Interval Halfsteps 0O al 12 Navigation J Choose the Interval Two Three The sound of the interval to be identified will be played and question marks displayed on the staff Your task is to click the correspondingly available interval symbol you hear In this exercise only the Perfect Unison and Octave are tested Below the staff the time remaining to answer the question is displayed For the melodic interval mode the countdown will start when the second note is sounded Quit Exercise Quit Listening Ear Trainer 120 Exercises OOP listening ear trainer Rehear Answer Exercises To Do Total Points Your Correct half Drick the Interval 24 0 Reset Counts Answer Answer steps you heard l IS a i 5 s a a 5 s 2 s s Tempo Simple Interval Halfsteps 0O PlayMode Harmonic Ascending Descending Play Ascending Melody The Christmas Song Descending Melody Willow Weep for Me Rehear Answer Pause Continue Quit Exercise In the above screenshot the P1 interval was chosen Your answer is logged with a yellow frame A P8 interval was played the correct answer is in a green frame In addition the option Show Rehear Buttons was chosen in order to compare your answer again to the correct answer by clicking one of the buttons in the
145. oal the products will have fulfilled their purpose What is new in our methods Our method has a few unique strategies First we remove the mystique around perfect pitch As explained above perfect pitch has many faces There is no one who can determine a frequency to an arbitrary precision Let alone the whole spectrum from the lowest to the highest sounds So nobody is perfect but there is a definition for the absolute pitch frequencies e g A4 has a frequency of 440 Hz And to claim absolute pitch you are allowed to deviate from the absolute specified pitch frequencies to a certain degree Therefore instead of using the word perfect it 1s better to speak of the deviations from the absolute pitches Yes absolute is precisely defined but nobody expects you to hit or guess the frequency to perfection Deviations are the norm for everybody Our Singing Funnel method makes use of this flexible norm Most ear trainings methods will mark a sound which deviates more than 50 cents from the defined frequency as an error We allow you to start off with a much larger error The how to gain accuracy is part of the method As you go through the funnel the exercises the program will tell you which notes no more fulfill the requirements to pass that level and lets you train these notes with appropriate feedback This way allows you to be proud of mastering a level even so in perfect pitch terms you may be off more than two whole ton
146. oboe s double reed 1s itself not tunable A trained ear is required to do this Sometimes musicians use their voice to hold a sound for a longer time as it s easier for beginners to hear the subtleties of tuning in their voice than from their instrument listening ear trainer introduction Welcome Did you know that singers have it easier to acquire absolute pitch Learn how the program works Navigation Change Topic Quit Introduction Quit Listening Ear Trainer 41 Introductory Lessons To demonstrate this relationship you are asked to hum any note you feel comfortable with The program will display your hummed pitch on the staff The position of the note depends on the frequency you hum Thus the note may be placed anywhere on or in between staff lines listening ear trainer Introduction Remember Initially sung note ee ee e Okay Let us move the note you just sang Learn how the program works Navigation Change Topic USF A Dutt Introduction In this sample a C 4 was hummed Next repeat the same note Listening Ear Trainer 42 Introductory Lessons listening ear trainer Introduction Repeated Note Initially Repeated sung Note Note Okay Let us compare the two notes Navigation Change Topic Quit Introduction If you succeed in repeating the same pitch the program continues This step 1s necessary since consistency 1s required for the next step In the next step
147. octave of its fundamental pitch in it Therefore with every pitched sound we will also hear the octave interval characteristic The next simple wave length change is to divide the wave length into three parts This shorter string swings at triple the speed of the original and corresponds to the note G4 Introduction Visualize the Overtone Series Interval Overtone Series Relative Pl P8 Amplitude And therefore the Perfect Fifth interval characteristic Frequency 0 131 262 392 523 654 785 916 1046 1177 1308 f 2f 2 4f 5f 6f 7i af 9f 10f c3 C4 G4 C5 ES G4 bBS C6 DG E6 nearest note Proposed Learning Order f Interval Characteristics Navigation Change Topic Quit Introduction So the next overtone every sound will have in addition to the octave is the Perfect Fifth And therefore the Perfect Fifth interval characteristic By dividing the fundamental wave length by four we get an octave of the octave the note C5 which is not really of interest Listening Ear Trainer 153 Inside our Methods Introduction Visualize the Overtone Series Interval Overtone Series Yi Relative P1 P8 interval characteristic Amplitude between G4 and C5 we can now hear the Perfect Fourth Frequency 0 131 262 392 523 654 785 916 1046 1177 1308 f 2f 3f at 5f 6f 7f at A 10f c3 C4 G4 C5 E5 G4 bB5 C6 D6 E6 nearest note Proposed Learning Order f Interval Characteristics Navigation
148. oduction of that sound or its picture nothing more can be done with this kind of data For meaning to work on a higher level the computer must abstract and convert the data into another form via analysis of the data For another example a page of text 1s scanned by optical character recognition Thus scanned pixels are analyzed against character patterns During this process characters and words can be recognized but in compressing the pixeled information into words we lose information For example the size font and position on the paper are no longer applied to the text For that information the character recognition process must work harder figuring out these additional attributes However since thousands of fonts available and new ones are coming daily the character recognition process must search more general descriptions such as serif or non serif fonts for example Even without this additional information the condensed form still has the most important information the meaning of the word as we would find in a dictionary Speech recognition software is used to transform raw sound data into words and sentences But again we will lose information during this process for example volume level pitch speed etc Listening Ear Trainer 2 How do we remember sounds and pitches However after this transformation the most important information the words themselves are now available for further processing Storing these higher
149. of a C Major scale When inverted intervals that stay within the octave of a scale are said to have a perfect quality rroduction So our interval number and quality naming now looks like this Listening Ear Trainer 100 Exercises listening ear trainer Introduction Introducing Perfect Intervals f Sa F amp o wi a e o Yes ol o oe o o o o Perfect 2 3 Perfect Perfect 6 F Perfect Unison Fourth Fifth Octave Perfect Octave Navigation Al Introducing Perfect and Majo intervals The remaining intervals in the C Major scale have a Major quality since they make up the Major scale listening ear trainer Introduction Introducing Major Intervals f ar 5 6 gt T y E oo O O oO oO amp oO amp Perfect Major Major Perfect Perfect Major Major Perfect Unison Second Third Pourth Fifth Sixth Seventh Octave Major Seventh Introducing Perfect and Majo intervals Navigation Listening Ear Trainer 101 Exercises In the above picture we can see that interval names are given only for intervals with a distance of 0 2 4 5 7 9 11 and 12 semitones The interval qualities are obtained for the remaining five intervals with a distance of 1 3 6 8 and 10 semitones by lowering the upper note of their sibling Major interval by a half step or by adding a flat With the exception of the tritone interval which has 6 semitones these intervals obtain a minor qual
150. on Information in the manner specified by section 6 of the GNU GPL for conveying Corresponding Source 5 Combined Libraries You may place library facilities that are a work based on the Library side by side in a single library together with other library facilities that are not Applications and are not covered by this License and convey such a combined library under terms of your choice if you do both of the following Listening Ear Trainer 193 License Agreement a Accompany the combined library with a copy of the same work based on the Library uncombined with any other library facilities conveyed under the terms of this License b Give prominent notice with the combined library that part of it is a work based on the Library and explaining where to find the accompanying uncombined form of the same work 6 Revised Versions of the GNU Lesser General Public License The Free Software Foundation may publish revised and or new versions of the GNU Lesser General Public License from time to time Such new versions will be similar in spirit to the present version but may differ in detail to address new problems or concerns Each version is given a distinguishing version number If the Library as you received it specifies that a certain numbered version of the GNU Lesser General Public License or any later version applies to it you have the option of following the terms and conditions either of that published version or of any
151. on the CD may differ from the trial version you may have downloaded In case you have downloaded the trial version some time ago it may be a newer version or in rare cases it may be an older version check the version numbers Listening Ear Trainer 189 License Agreement The CD cost is nonrefundable If you receive a CD that is damaged or defective it will be replaced at no charge Copyright The license issuer AlgorithmsAndDataStructures owns this software documentation and any accompanying files You are not allowed to redistribute this software documentation or any accompanying files You are allowed to make personal copies for your own use only You may make copies for backup and archival purposes provided that the original and each copy are kept in your possession Web Sites are allowed to make links to the owner s site e g direct download links to the author s site If you have a valid license then you may install and use the software on any computer owned by you presumed that the license transfer process works However you have no claim that such a transfer works Hardware or Operating Release changes or software errors may make this impossible In addition the license permits you the use of the software on a maximum of three computers you own at a time If you wish to use the software on more than three computers at the same time you must license an additional serial number This software contains codes which
152. ord muscle movements to capture sound characteristics Nevertheless to learn something for example to make an association between a pitch and a note name you need appropriate feedback Introduction The Singing Funnel Method Explained ve ow too high purple too low green on target red dot target pitch Pitch Feedback as given by Listening Singing Teacher Fortunately technology allows giving you feedback on your pitch performance Without engaging another pitch experienced person Using Muscle Memory to Immitate and Recognize Pitch Navigation Change Topic i ag xtPag Quit Introduction Fortunately technology allows giving you feedback on your pitch performance without engaging another pitch experienced person In this way you can learn to control your vocal cord muscles free from inter personal stress at your own pace This alone does not let you see the progress Chances that you will fail to identify a sound correctly are way too high and you will soon give up your goal This is the point where our Singing Funnel Method comes to your help the Funnel allows you in the beginning to score even if you are more than 2 whole tones off Do not underestimate this first step The points are not just given for free you still have to concentrate on the sound production process In addition the method starts with only two notes that you can choose at your own comfort In this way you can gain confidence th
153. oreign language The later we try to learn a foreign language the more difficult it will be to abandon the learned patterns of our native language In a way we have to abandon the strong associations between objects and their native word representation When learning a foreign language we have to create a new foreign word representation for that object WordGraph com shows us the following associations to the word house Listening Ear Trainer 134 Inside our Methods Introduction oy family household domichitAtY house menage home sign family pap sign of the zodiac house community play child s play business firm firm Ar ROPAR eo Sn US aii the following associations management building to the word house Foreign Language Acquisition Skills Navigation To allow a foreign word to represent an object is difficult since the older we get the more relations to this object exist and they are all connected to the native word All the experiences we had with a particular object have built our understanding of that object Listening Ear Trainer 135 Inside our Methods Introduction household community To reprogram and accept all these connections to a foreign word cannot be done directly play child s play audience business firm firm M management building edifice Foreign Language Acquisition Skills Navigation Change Topic Quit Introduction To reprogram and accep
154. orresponding note symbol you hear In the above screenshot the note C3 your answer is logged with a yellow frame was chosen The note played was C4 the correct answer is surrounded by a green frame In addition the option Show Rehear Buttons was chosen This allows you to compare your answer again to the correct answer Each note symbol has a counter in the upper right corner This counter shows you how many times you have hit a note in a row without making an error The counter stops increasing after 7 hits That means the maximum points you can reach for this exercise is 5 notes C2 C3 C4 C5 and C6 multiplied by 7 hits which equals 35 The score continues indefinitely so even when you have reached the maximum possible points you can continue testing yourself Starting an exercise sets the exercises to do count to 25 But does not reset the score and the hit count for each note stays where you left it last time You may reset all counts to zero by pressing the button Reset Counts Adding the Gs This exercise adds G2 G3 G4 and GS As its perfect fifth the G 1s the strongest overtone of the note C and 1s already contained in the sound of the C as such Therefore you should learn to differentiate the characteristics of Gs from the characteristics of Cs To do this easily it 1s strongly recommended that you wait to do this exercise until you have mastered the Cs Adding the Fs This exercise will add F2 F3 F4 and
155. our ears with our methods ccceccccseecceeeeeceeeeeeeeeeeeeeeseeeeeeeeseeeeeeeaeeseeas 141 Inside the singine Funnel MethOd eesis eeii nN E TAER 141 Inside the Octave Anchor Pitches Method aiciseiccteteatieon atelier 145 Inside the Interval Overtone Method 20 0 ecccccsecccceeecceeeeeceeeeeeeeaeeseeeeeeceeseeseeeeeeeeeas 148 The interval overtone development ccccccccseccccseecceeececeeeceeeececeeecesecesueceeaeecesaeeeeaecens 150 Visualize overtone interval characteristic relationshipS c ccccccseeccceeececeeceeeeeceaeeceeaes 161 IAS ENO FCC cs aeaa N tins sanenaeceancnaacsaneatatant states 167 DP GaC Kai WC DLO rE S Senia renee teianieatisantve a e ee wie 168 PLOSOIUtE Piten SUU Y ioie E EE EE E E AAEE 170 How do we remember sounds and pitches oriire misiiniirnen tiura Nin ANEAN Vinea Ta AiE 172 Sound Memory IMTOdUC Oikeaan a 172 SO UNG PROC CSS a E E A RANDGAMcaNAt Gas AInoc Asean Mane mAnag 172 Sound MEMO y DY TEP OduUCHO erian ra EEEN 173 Sound Memory and MIUSClES vce a Murcer eaauvan to Merten ce ene May eon ees 174 Using muscle memory to store PitCh eo gr iia ai E EEEE E a aa 174 Why USe SOlle Ce Sy MADIES Masain e a aa a 175 Reco mizine PIC eta E N T 177 Learnins Tips tor Listenn Ear TANG eenn non a e aA EE 180 Micron no meS UIT Raa T EEN EE ENIE NEO 180 Fi VAP OMA A EEE T O O A A 180 FRG COB MIZE Ul CIN S aan Ee A des and eh ons SS E a E E ES 180 NV ety and COM CCI CC istics descal
156. portation of the sound That is a source producing a sound of 390 Hz will be heard at a distance of 10m still as a frequency of 390 Hz Just a little bit earlier since the sonic speed bring the sound waves faster to the remote point But for the production of the frequency within the flute the sonic speed is important Because the knot of the sound wave reaches the reflection point in the tube faster the produced frequencies will be higher On the guitar the strings produce the frequency The guitar body has the task to resonate and amplify the sound thus is not responsible for the production of the intended sound Therefore the sonic speed has little effect on the frequency generation in the guitar This preference of harmony over absolute pitch probably explains why in the West absolute pitch is rare Listening Ear Trainer 71 Introductory Lessons listening ear trainer introduction Relative Pitch is more Important CS 523 25 Hz B4 493 88 Hz For example the frequency 440 Hz A 4 466 16 Hz was chosen to be named the concert pitch A4 G 4 415 30 Hz G4 392 00 Hz F 4 369 99 Hz F4 349 23 Hz E4 329 63 Hz D 4 311 13 Hz D4 293 67 Hz C 4 277 18 Hz C4 261 63 Hz Learn how the program works Navigation Change Topic PreviousPage NextPag Quit Introduction u Our intelligent Western brain has not yet found a good reason to learn absolute pitch Unless as a child you were exposed to pitch exercis
157. pul yyy Listening Ear Trainer User s Manual v1 05 Sep 2014 www AlgorithmsAndDataStructures com F Rudin User Manual ae Listening Ear Trainer User s Manual Copyright 2013 by AlgorithmsAndDataStructures F Rudin Switzerland All rights reserved No Part of this Software or documentation may be copied or transferred in whole or in part without the prior consent of the Publisher www AlgorithmsAndDataStructures com For details of the copyright see the license agreement at the end Trademarks Listening Singing Teacher Listening Music Teacher Listening Ear Trainer The Red Pitch Dot The Counting Hints Line The Half Step Brackets The Precision Listening Method The Singing Funnel Method The Octave Anchor Pitches Method and The Interval Overtone Method are trademarks of AlgorithmsAndDataStructures F Rudin Macintosh and OS X are trademarks of Apple Computer Inc IBM PC is trademark of International Business Machines Inc Windows XP Vista 7 is trademark of Microsoft Inc All other company and product names are trademarks or registered trademarks of their respective owners Listening Ear Trainer 1 User Manual Table of Contents Usor OY 101 eee ee ee nee eee a ee ee ene ee ee een nee eee ee eee ere 1 Copyright 2013 by AlgorithmsAndDataStructures F Rudin Switzerland ccceccccseeceee eens l POT AGU i A ca i A TA A ace E E N E A E O E T nae 1 Table of Contents ccccccceccc
158. r near misses to hits The exercises will guide you from near misses where you are allowed a small range of responses more than a whole note off to a precision of 7 cents For more details about this method see the next chapter Instructions Attention Listening Ear Trainer does not teach you music theory Listening Ear Trainer uses the voice as an instrument to do intuitive ear training With the voice you can only produce one pitch at the time the way you did when you sang as a child When you learn to speak you go through a stage called one word sentences Similarly for music the child learns to recognize single notes first We believe you must embrace this stage in order to succeed so we begin there In our opinion it s the only way to develop the important ability to sing in your head The basic skill is to feel music sensorily in the vocal cords Music theory comprises a second step that helps you classify a group of pitches into musical terms and concepts For more information about music theory we refer you to our products Listening Music Teacher triads and seventh chords and Listening Singing Teacher basic music notation rhythm concepts singing in tune and building tonal memory Listening Ear Trainer 47 Introductory Lessons Listening Ear Trainer 48 Introductory Lessons Everybody has perfect pitch Everybody has perfect pitch The question is just how good your ability to differentiate pitches is To explai
159. racking your progress Listening Ear Trainer 178 Inside our Methods Listening Ear Trainer 179 How to Learn with Listening Ear Trainer Learning Tips for Listening Ear Trainer Microphone settings For pitch exercises set the input level as high as needed so you can sing comfortably without stressing your voice Environment If possible practice in a quiet room Use a low noise computer and have as few as necessary electrical fields in the room e g turn off your mobile phone and other equipment Be aware that long microphone cables can cause audible disturbance Finally the room should have fresh air Recognize trends Using the statistics see 1f you have a tendency to sing some notes too high or too low Variety and confidence Once you have reached a certain level try to vary the exercises Instead of solf ge syllables sing your answers using different vowels Mastering other sounds adds flexibility and will increase your confidence Absolute ear and chords Listening Ear Trainer helps you to acquire a sense of our music system but in a somewhat isolated way It does not progress through musical patterns such as scales or through triads But since tonal music follows rules after awhile it is easy to predict which sounds will come next This limits choices and thus supports relative pitch recognition To get a feeling for absolute pitches you have to work with a detached non predictable system That 1s why our sy
160. refundable If you receive a CD that is damaged or defective it will be replaced at no charge Privacy Policy We do not collect personal information for any purpose other than to respond to you and for legal purposes e g proof of sale purchase We do not get credit card or other payment account Listening Ear Trainer 196 License Agreement information of customers from our resellers which do the financial transactions for us We will not share or sell the information you give us unless required by law Controlling law and severability This license shall be governed by the laws of Switzerland and the Kanton Baselland Place of jurisdiction Liestal BL Switzerland In case of a dispute the German version of this license is significant This license constitutes the entire agreement between the parties This license text is version 1 7 and is effective as of September 1 2014 Newer versions of the documentation and software may have a different license agreement In this case this version 1s not applicable to versions which come with a different license agreement Listening Ear Trainer 197
161. requencies for each note name and octave In the following table the frequencies for the notes C4 to C5 are listed C5 Do Ast 8th Tonic 523 25 Hz 7th Leading Tone or Subtonic G4 So Sth Dominant 392 00 Hz a a o fa Sdominant 349 23 Ha ma fee Sd Meant 32963 D4 Re 2nd Supertonio 293 67 Hz ca Dost Tonic 261 63 Minimum pitch precision to differentiate notes Now to train your ear to recognize those frequencies is not easy Since instruments are constantly exposed to physical environmental change you seldom find those that are perfectly tuned Most instruments have to be retuned if the temperature changes Therefore the goal is to get a feeling for the acceptable range for each note The narrower this range is the better you can differentiate notes The deviation of the pitch from the perfect pitch is expressed with the unit cents A deviation of 100 cents means you are off by a semitone or half step Therefore you have to determine the frequency to at least 50 cents in order to assign pitch to the correct note name Listening Ear Trainer 6 User Manual The overwhelming diversity of pitch A trumpet a piano or a violin may all play the same pitch Yet they all sound different Even two of the same instrument differ in sound They all have their characteristic fingerprint This circumstance makes it difficult to simply make an ear training program What should the ear training program cover Is it important to recogniz
162. rm that indeed you are on the correct way In music absolute pitch means you know where you stand This is especially important for a cappella singing Let us assume your relative pitch sense 1s always 5 cents flat Listening Ear Trainer 140 Inside our Methods Introduction Learning Absolute Pitch Like A Foreign Language you would be 100 cents flat or a semitone off Pitch Acquisition Skills Navigation Change Topic iousPage NextPas Quit Introduction Then after 20 notes you would be 100 cents flat or a semitone off If you are not absolute pitch orientated you would not realize that you are off a semitone If you have absolute pitch to a precision of 20 cents then after 5 notes you would realize your deviation from the correct pitch Fortunately we seldom sing or play without an accompaniment so most often we synchronize with the accompaniment and avoid drifting off key So orientation is not a compelling reason to acquire absolute pitch Improving your ears with our methods A good ear is still one of the most important skills for every musician Setting the acquisition of absolute pitch as a measurable goal for listening training 1s a possible way to go However the progress on this way should be visible and trackable Tapping in the dark and not seeing the light at the end of the tunnel is not funny Therefore we have introduced the following three methods The Singing Funnel Method The Octave
163. rning box incorrect answers will reset the hit count to zero In the first exercise the given notes are a whole octave apart in order to more easily identify the corresponding pitches You should not continue with the next lesson before you have mastered this one These five notes build the anchor points for the lessons to come and it is important to recognize these notes with confidence and ease Listening Ear Trainer 74 Introductory Lessons The next lesson will add the strongest overtone of the note C the perfect fifth or the note G Again you should not continue with the next exercise before you have mastered the previous level When you correctly identify the perfect fifth you should have learned 9 anchor pitches The next note to learn to differentiate is F When we added the perfect fifth or G we immediately also added its inverted note the perfect fourth or F Therefore you have already heard this overtone in the tones you have mastered Next you must learn to differentiate the pitch as a pure pitch and distinguish it from overtones of the Cs and Gs As more notes are added your brain must begin to look for better ways to differentiate the notes as its limitations in recognizing a new sound become apparent The brain searches for solutions in what it has already stored in memory by relating to sounds it can remember and that have a connection to a particular pitch If you try humming a pitch in a manner that where you
164. rtone 1s a characteristic of the sound itself interval identification by means of recognizing a special characteristic holds true independent of any musical context However for simplicity we will stick to the C Major scale as the only musical context for further explanations Listening Ear Trainer 112 Exercises The Interval Overtone exercises The first overtone is the Octave Therefore the first intervals we will learn to distinguish are the Octave and the Unison The Octave is the largest simple interval which makes it easy to distinguish and grasp the characteristic of the interval As mentioned earlier try to hold the first note in your memory and grasp the interval characteristic of a Unison and an Octave as an interaction of two sounds that is try to hear the ratio between the two pitches HOP listening ear trainer Identify Interval GetExerciseAnswer eS Click the Note Bou ena 25 Q Reset Counts Tempo 60 z P1 Elapsed Tinea 2 3 gi 5 6 8 9 10 441 Simple Interval Halfsteps 0O al 0 Fs Pi P8 12 Choose the Interval Navigation hree Quit Exercise non Quit Four The exercise will play a melodic ascending interval either a Perfect Unison or a Perfect Octave Your task is to click on the appropriate button P1 or P8 Note that the tested intervals may fall outside C Major so the starting sound might be a sharped note However your task 1s to identify the characteristic of the inte
165. rtone Characteristics OOOO 4 Pl P8 PS P OOoOooodA M3 M6 M2 M7 4 Cumulated Characteristcs as Normally Heard PLIOOLOIQOOP A harmonically played Tritone supports all interval characteristics Resemblance of Interval Characteristics Visualized Navigation Change WOU Sosea Quit Introduction Whereas a harmonically played Perfect Fifth beside the main characteristic of a Perfect Fifth will emphasize only the Unison and Perfect Octave interval characteristic Introduction Visualize Overtone Relationships Isolated Overtone Characteristics OOO OO Ooddt M2 M7 m3 m6 m2 m7 BS Pl P8 PS P4 M3 M6 T Cumulated Characteristcs as Normally Heard POROOOOOOO9SS Whereas a harmonically played Perfect Fifth beside the main characteristic of a Perfect Fifth Will emphasize only the Unison and Perfect Octave interval characteristic ia Resemblance of Interval Characteristics Visualized By adding only one new characteristic at a time the one that occurs naturally within the overtone series we learn to separate these interval characteristics from each other Navigation Listening Ear Trainer 165 Inside our Methods Because with the exclusion method we have to consult the already learnt interval characteristics intensively to come to a conclusion we deepen the relationship between the intervals along the intensity of the overtones Unfortunately you have to be patient
166. rval Adding Ascending M2 Learning the ascending Major Second completes the above overtone series in our repertoire of intervals Adding Ascending M7 Finally we learn the last interval of the major scale the Major seventh which has a strong tendency to resolve to the octave of the fundamental That is why it is called the leading tone and this makes it relatively easy to recognize the interval within a melodic context Harmoniv Intervals Recognizing Harmonic Intervals P1 and P8 In the previous exercises melodic intervals were presented In order to distinguish characteristics of each interval as it was presented you had to keep the first given note in mind At first glance this may have seemed more difficult than simply listening directly to the relationship between two notes played simultaneously However since we can only sing one note at a time it is much Listening Ear Trainer 124 Exercises easier to show the relationship in a melody than in a musical piece where the notes are played simultaneously or harmonically References to familiar or simple songs make it easier to remember and compare other intervals to the interval in question In the next exercises therefore we learn to extract the characteristics of simultaneously played notes Such characteristics are the same as for melodic intervals so you will already have the necessary skills to identify each interval You merely have to practice recognizing them in a differ
167. rval in itself not in relation to a musical context the notes are always depicted in the key of C Major Absolute and relative pitch are two separate features even as they can support each other We strongly recommend not trying to solve the exercises with absolute pitch but to hear the relative properties of the intervals Listening Ear Trainer 113 Exercises OO listening ear trainer Name the Interval Exercises To Do Total Points Your Correct half Click the Note 25 0 Answer Answer steps you heard Reset Counts Simple Interval Halfsteps O0 See the answer Navigation Qurt Exercise r eee Duit Once you have made your choice your answer is displayed on the left side of the dialog box and played aloud Then the correct answer is displayed on the right and played If you gave the correct answer the hit count in the button for that interval gets incremented If you gave an incorrect answer the counts for both your answer and the correct interval are reset to Zero Listening Ear Trainer 114 Exercises HOP listening ear trainer Rehear Answer Exercises To Doj Total Points Your Correct half Click the Note 24 1 Answer Answer steps you heard Reset Counts P 0 ak 9 oo P1 2 5 4 a 6 x 8 5 10 akal Simple Interval Halfsteps 0O al 12 PlayMode Harmonic Ascending Descending Rehear Answer Play Ascending Melody The Christmas Song Descending Melody Willow Weep for Me Rehear Answer Navig
168. ry important to be allowed to make errors and not to worry about the whole complexity of learning and achieving your goal That 1s we have to reduce the diversity and begin with a limited range Therefore our programs will teach you how to obtain the necessary skills in order to recognize absolute pitch Thus we make the process for you as easy as possible We use only one instrument the maximum trained range is 18 notes or one and a half octaves and the sounds have no dynamics and are of a long duration Of course you can change these parameters 1f you like However do not underestimate the importance of our approach that lets you get acquainted to learning the recognition process itself If you pass these simple exercises you can be proud to say I have absolute pitch Even so your knowledge 1s limited to a small range and only one instrument Both of our methods presented here will track your progress The first method the Singing Funnel Method which takes the indirect method of producing a sound to improve your recognition skill is very effective It supports the process of building an inner ear That is the program listens to you and therefore can guide you into the right direction This instruction will show you the necessary steps to learn How to produce memorize and recognize pitches The second method the Octave Anchor Pitches Method gives you confidence that you indeed can recognize notes In the beginning there will b
169. ry of our native language we acquire during our childhood seemingly without effort and active learning Comparing the Acquisition of Absolute Pitch to the Acquisition of a Foreign Language connect Piia toon P clear snow NUMOTOUS ous sophisticated laugh mother tender magical WO rk BES linia acceptable carpenter car train dinosaurs door we acquire during our childhood Absolute and Relative Pitch Recognition Skills Navigation Listening Ear Trainer 133 Inside our Methods The same is probably true fort he acquisition of the pitch vocabulary However since we do not use the pitch memory intensively and there is no merit of having absolute pitch during childhood we do not develop pitch associations and instead prefer to acquire relative pitch skills Most people can identify melodies regardless of the key in which the melody is played Thus proofing that they have acquired a certain degree of relative pitch This ability is an obstacle to acquiring absolute pitch The brain will try to solve questions about pitch with relative pitch skills Introduction Learning Absolute Pitch Like A Foreign Language French English The house i La maison We think that absolute pitch can be learned like a foreign language Pitch Acquisition Skills Navigation Change Topic Pag i Quit Introduction A similar learning situation exists when we want to learn a f
170. s software uses QuickTime from Apple Computer Inc On Macintosh computers this software is pre installed but on Windows QuickTime is not installed by default unless you have installed QuickTime or iTunes already in which case you do not have to install QuickTime again However it is always best for smooth running of the program to have the newest release You need Windows XP with Service Pack 2 or Windows Vista to be able to install QuickTime In the Internet Browser enter http www apple com quicktime download You should be presented with a page like this f Apple Quicklime Download Windows Internet Explorer O ey http www apple com quicktime download File Edit View Favorites Tools Help we we L Apple QuickTime Download Store iPod iTunes iPhone QuickTime 7 QuickTime Guide Why QuickTime vii Upgrade to QuickTime 7 Pro QuickTime Player O p N T E wah ues for 29 99 QuickTime Pro MPEG 2 Playback for Windows XP or Vista in 2 The perfect companion for your Windows PC QuickTime 7 Pr from a video watcher to a video maker Harness the power of everything from creating podcasts to transcoding media in n formats All for just Sign Up Five Reasons to Developer FREE weekly New Music Tuesday subscription O qe QuickTime 7 6 4 for Windows XP Broadcaster or Vista Streaming Server 1 Create video us Keep me up to date with Apple neve premier codec softwere updates and the lates
171. sk by listening only for the second note This approach is okay for those who have absolute pitch You should try to grasp the characteristic of the interval by keeping the first note in your mind and listen mentally to find the relationship between the two notes Your goal should be to draw out the relationship or change between the first and second note The brain helps us with this task as it likes to store changes not absolute events By noting changes you build patterns that can be arranged in new ways This gives you the freedom to explore and experiment With absolute events nothing can be changed which is why relative change 1s more important than absolute events Of course absolute events give us stability starting points and references In this way using absolute pitch 1s still justified We encourage you to improve in both areas Absolute pitch and relative pitch In the next section we explain how our Interval Overtone Method works for learning to recognize intervals Listening Ear Trainer 104 Exercises Instructions Relative Pitch This lesson shows you how the interval exercises work What is an interval characteristic When you listen to three harmonically played unison from identical instruments then if the unisons follow the C Major scale then it sounds like the first three tones of the C Major scale were played OO listening ear trainer Introduction Characteristics of Intervals First Interva
172. sly about sound memory except when they have to identify or classify sounds Keeping a sound in our memory for a few seconds allows us to compare an actual sound to a stored sound If doing training with the Singing Funnel method you soon notice that when you start to lose concentration then you rely on muscle memory to continue scoring That is you will stop using your inner ear imagining the sound and only concentrate on the producing part of the sound That is trying to remember the position of the muscles that produced the correct answer last time Of course you will score if you produce the sound correctly without imagining the sound with your inner ear This process is fine it helps to calibrate your abstract note to pitch understanding with the muscles and reinforces the relationship between pitch and muscle memory In the same way you can observe how professional musicians might take over a pitched sound on their instrument humming it to keep the sound in focus longer you don t have to use your inner ear if you hum the sound the muscles are in place Or in other words it uses more brainpower to imagine a sound and hear it with your inner ear than to recall the states of muscle positions Of course they are related since if you want to hear a sound with your inner ear the muscle memory gets activated But you can also start building a link from an abstract note name to muscle positions without bu
173. sound snippets to produce the final sounds When we recognize a sound we can analyze and categorize it then assign it appropriate attributes with their different meanings This breaking down in order to distinguished attributes helps us to recognize danger or where we need to take immediate action When in danger our actions usually involve muscle movement therefore to react quickly 1t makes sense to have analyzed sounds stored together with fight or flight schemas in the muscle memory Of course we store non reproducible sounds somewhere as snippets However sounds stored in muscle memory will get priority as they reside in the overlapping area of sounds deemed important therefore evaluated quickly So our muscle memory the brain s primary control center for survival allows us to think about or reflect on everything we put in it with accompanying stored attributes and to combine these in different variations This cannot be done with raw unstructured sounds e g we would not be able to understand people whom we have never met before Using muscle memory to store pitch Since the voice does the speaking and therefore strongly related to listening muscle memory 1s the most appropriate place to store pitch sounds too As the brain was built to control muscles it Listening Ear Trainer 174 How do we remember sounds and pitches stores various pitch patterns at a very high precision Humans have little reason to think consciou
174. stem tests your interval recognition ability without sticking to a key The intervals are presented from a randomly chosen note The names of triads and seventh chords are easier to identify as they have more than one note and thus more anchor points pitches Identifying a chord quality 1s always done using relative pitch the chord quality solely defined by the distances between the notes it 1s built from So to find the other two notes of a Major triad in its root position the third is found by ascending four half steps from the root and the fifth by ascending three half steps from the third Thus the chord quality is independent of the position of its root note Finding a music teacher If you like music and want to express yourself on an instrument it is recommended that you take lessons In the beginning it is particularly important to be supervised with simple things like sitting comfortably good posture and handling of the instrument having good sight of the score and relaxed execution If you learn these things incorrectly they become big hindrances to making progress later when pieces get more difficult Listening Ear Trainer 180 How to Learn with Listening Ear Trainer Practice times As with learning another language it is recommended that you practice in several short sessions rather than one long one We also suggest taking a break every 15 minutes or so It will also enrich your experience if you do an exercise in the morn
175. t all these connections to a foreign word cannot be done directly The experiences we had will always be connected to this first native word assignment since there was no other connection at that time So if we have to identify something we will always get the describing words that have the most intense or what the brain thinks are the most relevant connections first the words in our native language Listening Ear Trainer 136 Inside our Methods Introduction family household domiciliary house menage sign sign of the zodiac house community Thus until this reprogramming has taken place we have to use a bridge play s bill poig child s play audience business firm firm scodda management building edifice Foreign Language Acquisition Skills Thus until this reprogramming has taken place we have to use a bridge However the more intense we use the foreign word the more associations and thus relevance this new foreign word will get Listening Ear Trainer 137 Inside our Methods Introduction theater theatre community If we are living in the foreign country the words in the foreign country may became the way we think of things play Dull poja child s play audience edifice business firm admit firm acc odate management building edifice Foreign Language Acquisition Skills Navigation Change Topic is lousPage xtPag Quit Introduction If we are living in the foreign co
176. t information on products and services Record audio fi podcasts Apple Customer Privacy Policy e Create movies Email Address Apple TV New full screer Save movies fri Free Download Now u Jgraae NODA gt Internet 4 100 Choose if you want to install QuickTime with iTunes or QuickTime separately Click Free Download Now and follow the installation instructions After installing QuickTime you will be ready to use Listening Ear Trainer Listening Ear Trainer 34 First Time Use First Time Use Macintosh Double click the application ListeningEarTrainer in the Applications folder A Applications z gt T J we io we De p a TO E E Network z Q 3 Untitled 1 Dashboard Dictionary DVD Player Font Book Te Macintosh HD E Untitled 2 P a i FELIX 32 BG f m Image Capture Internet Connect K Preview QuickTime Player g 1 Sherlock Stickies System Preferences ListeningSingingTeacher ListeningMusicTeacher 1 of 41 selected 272 73 GB available Windows Double click the shortcut on your Desktop td Shortcut to ListeningMusic Teacher exe The application starts initializing by loading images and sounds Listening Ear Trainer 35 First Time Use listening ear trainer Listening Ear Trainer Initialisation Loading Images Loading Images Copyright www AlgorithmsAndDatastructures com
177. terval numbers Navigation Change Topic Quit Introduction For that reason musicians distinguish between Simple Intervals or intervals smaller than or equal to an octave the yellow area in the above picture from C4 to C5 and intervals larger than an octave going from C4 into the dark yellow area above C5 These larger intervals are called Compound Intervals and relate to simple intervals The naming of compound intervals can be calculated by counting the number of octaves and the simple interval or by using normal rules of music theory which we will explain later For example an interval spanning an octave and a Major third is called a Major tenth or compound Major third Applying the standard rule to determine intervals yields a Major tenth For now we will concentrate on simple intervals You will have a chance to learn compound intervals during the exercises An interval name consists of a number and a quality Listening Ear Trainer 97 Exercises listening ear trainer Introduction Interval number and Quality Interval pe eae Perfect Fifth and an interval quality How to determine the musical interval numbers Navigation The interval number is the number of steps half and whole between the two scale notes or degrees For the C Major scale we get the following picture for the interval numbers Listening Ear Trainer 98 Exercises FHA listening ear trainer Introduction
178. that we can relate to specific events recognition of a melody regardless of the key in which it is played recognition of instruments recognition of a single note relative to a tonal reference recognition of the tonal center key recognition of a single note without a tonal reference recognition of a whole series of notes with pitch and rhythm characteristic recognition of intervals triads seventh chords and other simultaneously played notes Recognition of single tracks of an arrangement Recognition of whole arrangements This variety of sound recognition suggests that pitch recognition should be present in some form in all humans Similar to the fact that we can abstract and understand words from totally unknown people we possess some ability to deal with pitch Absolute pitch 1s usually associated with the ability to recognize the 12 notes in a chromatic scale in the Western equal temperament Since the majority of the people cannot identify a single pitch by name some people assume that absolute pitch is a genetic trait that cannot be learnt Others claim that absolute pitch can only be acquired by people who had musical training by the age of five Psychologist Diana Deutsch UC San Diego relates perfect pitch to speech and speech acquisition We take this approach a step further and compare it to the acquisition of a foreign language Listening Ear Trainer 131 Inside our Methods Comparing the acquis
179. that you know the learnt notes Recognize the Cs This is the starting exercise for the Octave Anchor Pitches method As with the Absolute pitch cents exercises you can select the Show exercise options in the lesson dialog box before starting the lesson listening ear trainer Select Options Instrument Show Rehear Buttons DX Trainings mode Select the notes to exclude in the test by clicking on the desired notes 9 9 C5 C6 C4 C3 4 O Tempo Eo Time limit 5800 Control Here the following options are available gt Instrument Here you can select flute or Sinus The Sinus sounds are pure and should produce fewer overtones in your headset or speakers In training mode a male voice can be selected that will sing the solf ge syllables Attention If you set the instrument to Sinus you will need a good headset to hear the low notes Mediocre loudspeakers tend to fail when reproducing frequencies below A2 110 Hz The flute sound has more overtones and thus will be easier to hear Listening Ear Trainer 89 Exercises gt Show Rehear Buttons After each test this option will display two buttons that allow you to rehear your answer or the correct solution This helps you to better understand your error If you do not hit one of the two buttons the test continues with the next note after a second or two gt Training mode If selected additional
180. the next exercise Adding the Gs the note G is added As the dominant overtone of C 1 e G s frequency is already contained as an overtone of C Thus it is important that you learn to distinguish Gs from Cs before you continue The next exercise Adding the Fs will add the perfect fourth the F If you sound a G which 1s a perfect fifth above the note C then the inverted quality the perfect fourth or F in this case will also sound as an overtone Therefore it is the best to learn to distinguish Fs from Gs and Cs before you continue The exercises continue by adding more notes If you start to mix notes it is recommended that you go back to a level where you know you can identify the notes correctly Once you have found the level you have mastered go forward again and concentrate on the characteristics of the newly added notes This method may not work for everyone as some people may be able to hear the characteristics only for the instruments they train with The singing method is more applicable universally since one more easily transfers the pitch of one s instrument to one s voice thus obtaining aural independence from the instrument Listening Ear Trainer 11 User Manual Listening Ear Trainer s ultimate goal is for you to acquire a feeling for individual pitches Accordingly it will foster absolute pitch Although gaining absolute pitch cannot be guaranteed fully if you make progress towards your ear training g
181. then click your name Listening Ear Trainer 38 Lesson Selection Select Lesson Exercise After selecting your name the Select Lesson dialog box will be presented listening ear trainer Select Lesson Exercise User Test User Tessitura high Select Lesson skipIntro PersonalScore Tessit HighScore Tessit Who Q 0 0 0 Q 0 0 0 Navigate Options Show Exercise Options before starting the exercise Display Statistics Control Quit Program Change User Select a lesson In the Select Lesson frame you should select the desired lesson exercise To the right of the lesson exercise buttons you ll find a button that allows you to skip the explanations given for a particular lesson exercise Clicking a button in the column SkipIntro will change the button to read Skip or if it is already on Skip it will be reset to Intro Next to the Skip Intro buttons you will see your personal high score and the tessitura in which you reached that score for this lesson The scores are colored as follows blue You reached less than one third of the possible points green You reached the basic level yellow You reached more then two thirds of the possible points red You have more then 90 correct answers As an additional encouragement the highest score of competing players is included to the right In the navigation frame you find the PreviousPage and NextPage bu
182. they would not work if we had no brain but they become automated and thus the brain is not needed directly However the brain s primary function is still to control muscles and the brain can overwrite reflexes To utter words then the vocal cords play an important role If you say Ah then Oh you have no clue what commands your brain has given the vocal cords Yet the sounds come forth correctly and certainly muscles were involved This is because somewhere your brain has stored the muscle patterns for Ah and Oh It 1s capable even of finely controlling the vocal cords to express Oh as indicating surprise Oh what a surprise to meet you here and Oh as indicating simplification Oh that s easy everybody can do that Thus sounds are stored along with muscle movement information in the brain and this stored muscle movement data can be modified with several attributes for final production of the sound Since what is important in producing sound falls into the process of actively producing it we can assume that the sound is stored only once in the muscle memory We need this muscle movement information anyway when we want to speak so it makes sense to have the information stored primarily in this part of the memory Storing once for use in many situations reduces redundancy and helps to clearly differentiate meanings and attributes With the descriptive attributes we will change and combine the stored
183. thod used with the voice is much easier and effective than say training with a piano as the learner s progress 1s better shown immediately and tracked in a way that stimulates further practice This learning process can be accelerated as any other learning process by multiple stimuli especially through activities Activities highly related to the subject will bring the fastest results and in the case of pitch recognition singing 1s the best Recognizing pitches is similar to recognizing language We learn our mother tongue automatically just as if exposed to pitch exercises or we have a special relationship to a musical instrument during childhood we are able to recognize pitches later But if you missed that opportunity you would learn pitch recognition much like learning a foreign language What actively speaking is to language singing is to pitch recognition Similarly as for learning languages it gets more difficult to learn absolute pitch as we get older but it is never too late Of course past a certain age the production of a correct pitch through singing is not as easy as saying Ah The recognition process takes longer but if you want a challenge for the second half of your life for example learning to recognize pitches is good for the brain in warding off memory problems dementia and even Alzheimer s disease The Singing Funnel method can help you by structuring your learning process with step by step feedback and t
184. thod we follow the overtone series as explained above The Octave Anchor Pitches method is about single tone recognition Since every sound has the same relative overtones there is no order between single note sounds However the Octave Anchor Pitches method uses anchor pitches That 1s we expand our repertoire relative to these anchor pitches Thus we have again an order to the starting anchor pitches The Singing Funnel method uses muscle activity to learn to memorize a sound Since small muscle movements are easier to do you should not start with sounds an octave apart Since the overtone series 1s not relevant for the Singing Funnel method you can start with any notes you feel comfortable to sing You are not bound to an order Now if you see that in the Singing Funnel method you have a good feeling for the note D then you could take the note D instead of the note C as an anchor pitch in the Octave Anchor Pitches method and adapt the method from there by using the training mode in our exercises But we do not recommend this since the temptation that you would like to change the anchor pitch again next week is very high In this way you may make faster progress in the beginning but you loose the all important orientation Here discipline and stubbornness is the order of the day And since the key of C is very common in music our proposed way is not a bad choice Listening Ear Trainer 167 Inside our Methods Tracking the progr
185. tiet a e le antes a uaultecta tala de scales a totiatenouuaee 180 Absolute Cal ANC MORAG sianie a T E E E seco raion eae 180 FPindine a musie teachi se ae a E E O E tems ec 180 Practice tE Soeiro EEE EE EEEE EEE EA E 181 FAO sanan E E E E E 182 What dol Gemtor miy MONEY ora E E E EE 182 What happens if I do not register after 100 days 0 cc ecccccseccccseeecceeeeeeeeeeeceeaeeseeeeeeeeeas 182 WEES C0 L2ERSUP POLE orerar a teers ain eee ie ee 182 Caim Orit te SUA SIGS orarin sotto n Care dhs ashes tua tinea ced nase ania ea casas tae 183 Why the elaborate licensing terms Is the use of software all at my sole risk 183 Do have to be online to use the Sowar zea a E T E Gee 183 TOES OUINC ROTO VV NON atest Racket Reacts eel eat EO 183 Microphone Input level too low distortion or audio device not supported Macintosh 183 Microphone Input level too low distortion or audio device not supported Windows 184 R OS Ui UO MMs to cetirey tca ase ate gcteon ns ioiom a T eiendmtret sad ip T teen fedebien aot 187 WAC CTS FO EMEN 8 a iS Sl eh E E E E ed out cah al ul cark E ES 189 EC E gp cette ee eee E eet eet lta AAE tele E ete ts 189 Listening Ear Trainer 3 User Manual PPG TCU CS seo oa E E eae uni oc E E urea A E EE EETA E ee 189 RRCSHICTIONS crs s1escnoteasdeusectnganedeasiegdnsisianadeustandie seuamedea sc eudganstesedsdeleadac EEEE 189 CD DITALE aA 189 COPY Dia a a a r a E eenLameaatonte 190 Te P
186. training options are available gt Exclude include notes In training mode you can exclude a single note by clicking on that note By clicking on Exclude Octave you exclude the whole octave from the test By pressing Only C Major you select only the notes that belong to the C Major scale gt Tempo The tempo setting allows you to adjust the length you will hear the note in order to detect the pitch Lower tempo values will increase the length of time the note is sounded and higher values will decrease this length The shorter the time in which you listen to the sound the more difficult 1t becomes to assign a note name to the pitch gt Time limit The time limit setting allows you to limit the time in which to identify the note Shorter times give less time to go through your inner repertoire of sounds Longer times allow you to compare and reconcile the sound before you have to respond When done with option selections click Go The exercise will start with the selected options The exercise window appears as follows listening ear trainer Rehear Answer Total Points Correct Click the Note you heard t t te j E i j i j i K i C4 a A Answer Tempo 60 e ga F Rehear Answer Navigation IS Pause Continue Quit Exercise Listening Ear Trainer 90 Exercises The sound or pitch you must detect will be played and question marks displayed on the staff Your task is to click the c
187. ttons which allow you to page through the lessons exercises Listening Ear Trainer 39 Lesson Selection Clicking on the Statistics button will bring you to the Statistics Section which is explained in the Statistics chapter The first three lessons entitled Introduction Theory Introduction Chords and Chord Explorer are introductory and explanatory only They give no exercises to practice nor do you earn points All other lessons are exercises in which you can earn points They are presented after the introductory lessons Listening Ear Trainer 40 Introductory Lessons Introductory Lessons Absolute Pitch Introductory lessons are animated and explain the concept of absolute pitch and how the program works Introduction Absolute Pitch This lesson gives a short overview of absolute pitch and demonstrates that you have the ability to hear absolute pitches What is absolute pitch When musicians are tuning their instruments you might hear them hum during this process Musicians tune their instruments because in some cases they must match tones within the instrument itself 1 e the guitar strings have to play in harmony and because the instrument must be in tune with other instruments Some instruments cannot match with others for instance a piano or an oboe often become the anchor from which all other instruments take their tuning note because the piano must be tuned by a technician and the
188. ul For example the third harmonic with 3 bellies is more complex than the second harmonic with only two bellies Therefore the overtone sound of the Perfect Octave second harmonic is much stronger than the overtone sound of the Perfect Fifth third harmonic Our Interval Overtone Method follows the overtone series and by practicing with it you can learn intervals with the least distraction from previous learned intervals Note for the explanation of the overtones we will give examples in the C Major scale however the learning process is independent of musical context 1 e the task is to recognize intervals independent of their musical context In encouraging you to learn to listen for the particular characteristic of an interval and to avoid relying on a context our method is a more absolute idea of the relative interval recognition process So instead of learning absolute pitches and then simply deducing their intervallic relationship you listen for an absolute characteristic of the interval itself In a functional ear training program you would learn to recognize intervals in musical context for example the intervals in the C Major scale Usually a cadence is played to give the context of the tonic pitch or where the music returns to a key center and resolves as an ending In this context a third from C to E 1s not considered the same as a third from G to B since Listening Ear Trainer 111 Exercises the first third has a te
189. umstances including negligence shall AlgorithmsAndDataStructures or its developers directors officers employees or affiliates be liable for any consequential incidental or indirect damages including damages for loss of business profits business interruption loss of business information and the like arising out of the use or inability to use the software You are also responsible for your health or other users health e g children of users using this software Regarding this software this means you are not allowed including but not limited to to stress your voice in such a way that damage to your voice or any other thing may occur Singing needs a lot of attention you should not be singing and doing an activity in parallel which may harm you or others e g driving a car needs your full attention Some jurisdictions do not allow these limitations or exclusions In this case you are not entitled to use this software 1f you can see yourself doing a dispute in such a matter If you order from such a country or state the payment will be regarded as an unconditional donation The reception of a serial number does not imply any grant of rights Return Policy In case you purchased the product by an error you can return the product within 30 days from the purchase date In this case a restocking fee will be applied to recover all the costs we and our resellers have to bear If you have ordered an eCD remember that the CD cost is non
190. unds DLS synthesizer MIDI files can be combined with standardized samples of musical instruments sound effects or even dialogue which are used to recreate an exact copy of the sound intended by the composer For our purpose the point is that sound is stored in separate sound samples instead of as a digital file containing the whole piece We will assume that a similar effect to recall sounds exists in our brain Sound gets broken up into snippets and attributes These stored fragments sound snippets can be combined in a sequence of actions to form step by step instructions to generate a certain sound e g the MIDI file only contains the instructions actions for a playback device to produce the sound The sound itself gets generated in the playback device with preloaded sound snippets Computerized speech recognition also compares incoming sound stream with sound snippets and stores the sound stream in small meaningful tokens The recognition process is then based on these tokens since the computer can handle precisely defined tokens much better than raw unstructured audio data Sound memory by reproduction The most effective way to store a sound in our brain is to reproduce the sound ourselves The reproduction of a sound is the strongest active channel we have to it The recognition of sounds by far exceeds the ability to produce them But the sounds we can reproduce make out the biggest part of sounds that were considered by nature as
191. untry the words in the foreign language may become the way we think of things And thus may become more relevance in our life than our native learned vocabulary This situation is also known as we start thinking in the foreign language For the pronunciation of words it is even more difficult to get it right since the control of our vocal cord muscles have stopped to develop after we have mastered our native language Or at least it is very hard to train your vocal cords without appropriate feedback that guides your efforts Therefore it may seem nearly impossible to regain the ability to identify pitches since the relative pitch characteristics that are present in all songs and musical activities will take precedence over absolute pitch detection skills Despite this argument we know that we are capable of learning a foreign language We also know that it takes many years of daily regular learning to acquire a foreign language To perfect such a skill we have to listen to native speakers and actively use the language for quite some time Usually you cannot outrun a native speaker that has learned the language from day one on in respect of language understanding However the native language building is a lifelong continuous process In this way a foreigner that adopts a foreign language can outperform a native speaker that does not care about his language for example does not care about spelling correct grammar and expanding
192. up 0 Elapsed Time S1 To go to the next Exercise Click lt Continue gt PlayMode Harmonic Descending Rehear Answer Koum Answer Correct Answer Play Ascending Melody The Christmas Song co aia OE Ge Sing Interval Descending Melody Willow Weep for Me i Eb5 Navigation Learn how the program works Change Topic Aline imena Neen 5 4 To improve your interval memorizing even further you can move the interval in question to your singing range and start singing the interval Listening Ear Trainer 122 Exercises OO listening ear trainer introduction Interval Exercise Overview Feedback Singing Training Score Be Pa Ea A Paa CA N Exercises To Doj Total Points Bel WAV AS PO Tempo 60 Vy Do The pitch line shows you Sing the following Interval if you are on track one note after the other Learn how the program works Navigation Change Topic F usPage Pag Adie Aee Uee ooe Unfortunately the first interval in the curriculum is the Perfect Octave This is good for the learning to differentiate interval characteristics however to sing the interval is not easy Since the notes are a whole Octave apart your voice muscles must perform a large change Therefore we recommend that you postpone the singing training until the intervals come to a comfortable range for you Tip if going down from a high note to a low note do not sing the high note until the end Rather take a little
193. uring a session with the training mode are not shown in the overview of the lesson dialog box The training mode makes it easy to learn the concepts The options are as follows gt Show Pitch Progression Enabling this option will show you in real time the pitch you sing If this option is enabled the pitch arrow line which shows the cumulated error will be displayed from the beginning In the test mode there is a delay so you cannot cheat and you must rely on your pitch memory gt Show scope This option will display the waveform from the input device and also display the detected frequency in Hertz gt Random Note Every Normally the first note in the Learning box In the exercises all chosen cards pitches you selected for the training in the bins are laid out and visible will be presented to sing However if Random Note Every is not 0 a random number between 0 and Random Note Every will be produced If the produced random number is 0 then a random card from all the cards will be taken instead of the first card in the queue Thus statistically in every Random Note Every a random card will be displayed This ensures that notes further down the bins get tested randomly If you fail to sing the note correctly the card gets moved back to the first bin gt Play Note If this drop down menu is not set to mute then the note on the test bench is played during the count off Attention If you set t
194. use for a coordinated movement we do not want to calculate muscle commands from abstract information We just want to recall the necessary muscle commands Maybe we want to change some parameters during the execution of the commands but we still want to recall the movement commands as a procedure of simple timed movement commands Thus we store abstract muscle movement patterns that we think we can use again in the long term memory To activate or compare these patterns we have to transform incoming information into the same pattern A match of two patterns triggers a signal So when we want to activate a certain muscle pattern our brain creates this pattern and the match with the long term memory triggers the let the stored commands execute To compare stimuli from the outside world the stimuli have to be transformed by the brain to possible imitation events For example transforming the heard pitch into muscle movement patterns to sing the pitch If this simulated muscle movement patterns matches a stored pattern in the long term memory then the brain triggers the associations stored with this pattern For example the name of the note The reverse way the imagination of the note name will stimulate the necessary muscle movement activities to imitate the pitch In this way we can hear with our inner ear the pitched sound Listening Ear Trainer 142 Inside our Methods In other words the Singing Funnel Method uses the vocal c
195. ustrating so you almost certainly will want to fall back on relative pitch training To train in absolute pitch requires you to interrupt your training for about 15 minutes By doing these interruptions you can be sure that your absolute pitch recognition process gets practice and not the relative pitch recognition process The main difficulty will likely concern recalling the sounds However if you train with the Singing Funnel method you will see that you indeed can memorize sounds very precisely Rather than playing a guessing game you will incrementally improve your listening abilities and begin hearing the sound even before it gets produced This conceptualizing of notes will improve your mental ear Finally if you can sing the pitches with an accuracy of 33 cents you will have gained enough confidence to assign a pitch the corresponding note name and thus have gained absolute pitch Listening Ear Trainer 8 1 Exercises Exercises Absolute Pitch The first exercises entitled Absolute pitch cover the Singing Funnel method During these lessons you must sing the note in response to the question the evaluation is based on the pitch being sung within the required tolerance The exercises Recognize the Cs until Recognize the note cover the Octave Anchor Pitches method Your task 1s to click the button that matches the pitch you heard The score for the exercises continue indefinitely That is when you start
196. vertone Method its name Listening Ear Trainer 16 User Manual The Interval Overtone Method Learn to hear and differentiate Initial Intervals ece oe 2 the particular interval characteristics P1 P8 Use as new Starting repertoire fF M ew P1 P8 P5 We start by learning to differentiate the unison from the octave When we have mastered to hear the particular interval characteristics we continue with the next most similar interval It is advised that you learn to differentiate the strongest similarities first Other intervals may seem more distinct and easier to separate However it will be more confusing later since more relationships to other intervals exist and the specific characteristics start to blur When mastered continue Copyriht 2013 by www AlgorithmsAndDatastructures com You will learn to recognize the Sequence of Intervals as follows Perfect Unison Perfect Octave Perfect Fifth Perfect Fourth Major Third Major Sixth Major Second Major Seventh The Minor Intervals We recommend that you avoid skipping exercises That way you can be sure you have mastered each interval Then in the next level you only have to watch for the appearance of a new sound pattern If you can distinguish all up to now learned patterns you will know you have learned to differentiate the most similar sounds The following sounds will have less in common with those intervals alr
197. y Perfect and Major intervals of the C Major scale gt Tempo The tempo setting allows you to adjust the length you will hear the interval in order to detect the interval Lower tempo values will increase the length of time the interval is sounded and higher values will decrease this length The shorter the time in which you listen to the sound the more difficult it becomes to assign an interval name to the sound The selected speed sets the duration of harmonically played intervals with whole notes Melodic intervals will be played at double that speed so that the whole time to detect the interval name is the same as for harmonically played intervals the note values do not change they stay a whole note gt Time limit The time limit setting allows you to limit the time in which to identify the note Shorter times give less time to go through your inner repertoire of sounds Longer times allow you to compare and reconcile the sound before you have to respond gt Show notes on staff During the questioning the notes will be displayed This helps if you want to learn to find interval names from the staff gt Harmonic Ascending Descending With these buttons you can set the play mode of the interval during the questioning When done with option selections click Go The exercise will start with the selected options The exercise window appears as follows Listening Ear Trainer 119 Exercises OO listening ear trainer Ide
198. y available images on the Internet which are believed to be in the public domain However the arts created by AlgorithmsAndDataStructures e g Felix the cat in the Banner may not be used outside this context Warranty disclaimer Software development is a very complex matter and the environments in which the software can be running are endless and sometimes not fully imaginable in advance by the creators Therefore Listening Ear Trainer 195 License Agreement this software is provided AS IS and with all faults You expressly acknowledge and agree that the use of software from AlgorithmsAndDataStructures is at your sole risk AlgorithmsAndDataStructures expressly disclaims all warranties and or conditions express or implied including but not limited to merchantability and fitness for a particular purpose regarding the software AlgorithmsAndDataStructures does not warrant guarantee or make any representations regarding the use or the results of the use of the software in terms of its correctness accuracy reliability or otherwise Some countries or states do not allow the exclusion of implied warranties In this case you are not entitled to use this software if you can see yourself doing a dispute in such a matter If you order from such a country or state the payment will be regarded as an unconditional donation The reception of a serial number does not imply any grant of rights Limitation of liability Under no circ
199. y run software From publishers you trust What s the risk If you do not click Don t Run click Run to continue the installation The Setup Wizard Window opens Listening Ear Trainer 25 Installation Wigs ix ListeningEar Trainer Welcome to the ListeningEarlrainer Setup Wizard The installer will guide you through the steps required to install ListeningE arT rainer on your computer WARNING This computer program is protected by copyright law and international treaties Unauthorized duplication or distribution of this program or any portion of it may result in severe civil or criminal penalties and will be prosecuted to the maximum extent possible under the law Click Next The License Agreement appears Listening Ear Trainer 26 Installation i ListeningEarTrainer License Agreement Please take a moment to read the license agreement now If you accept the terms below click I Agree then Nest Otherwise click Cancel License Agreement License The software the documentation and any accompanying files are licensed to vou hy Algorithms AndDataStnichires F Rudin Hombersweo 3 CH C 1 Do Not Agree Agree Read the License Agreement and the Copyright before installing Click I agree if you agree with our License Agreement The Select Installation Folder dialog appears By default the application will be installed under C Program Files AlgorithmsAndDatastructures List
200. you download the software has not been hacked or that during the transmission no manipulations were made Do I have to be online to use the software No You only have to be online to download the software and activate the serial number No sound for low notes If you set the instrument to Sinus you need a good headset to hear the low notes Mediocre loudspeakers can have difficulty reproducing frequencies below A2 110 Hz The Flute option has more overtones and thus will be easier to hear Microphone Input level too low distortion or audio device not supported Macintosh In the applications Utility Folder open Audio Midi Setup and Select the Audio Devices Tab From the Default Input drop down Menu choose your microphone and in the Properties For also choose your microphone see below Drag the slider on the bottom of Audio Input to the right Also make sure that the selected format 1s 44100 0 HZ and one channel 16 Bit 1ch 16 Bit Listening Ear Trainer 183 FAQ Other audio applications e g GarageBand may reset the input level the frequency or the 16 Bit setting to 8 Bit Be sure to check and set the following settings correctly Audio MIDI Setup Audio Devices MIDI Devices System Settings Default Input p iMic USB audio system Default Output Built in Audio q System Output Built in Audio 4 Properties For W iMic USB audio system
201. you heard Tempo 60 Tg Q left right sy SS as fa g E ie 4 ca lt 0 0 eH D gt gt _e0v0wWwW0Ow W p Z G SS G3 ny i G2 Elapsed Tire Building a Grid to Sort Out Pitches Navigation Change Topic PreviousPage Quit Introduction Duit Especially since you already have built an anchor grid with the Cs If we look at the distances between the notes in half steps we see that the Cs are 12 half steps apart Listening Ear Trainer 146 Inside our Methods Introduction The Anchor Pitches Method Explained Instead of the Gs we could have taken the note in the middle of the octave the Tritone Building a Grid to Sort Out Pitches See Topic i Pag xtPag Quit Introduction By adding the Gs the distances to distinguish the pitches decreases to 7 respectively to 5 half steps Instead of the Gs we could have taken the note in the middle of the octave the Tritone The Tritone sound would be easier to distinguish from the Cs than the Gs from the Cs since the Tritone sound has less in common with the Cs than the Gs However we have our reasons why we proceed this way An explanation for our proposed course of action will be given in the chapter Inside the Interval Overtone method Again you have to learn the Gs until you can differentiate and assign the Cs and Gs to 100 To be successful with the exclusion method you are forced to deal int

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