On Thursday January 19th from 7PM until 2AM EST I’ll be sitting here at my computer answering EVERY one of your questions about how to learn absolute pitch in as short a time as possible.
This is your opportunity to learn ALL of my absolute pitch shortcuts!
Here’s how it works:
Visit this post any time after 7PM EST Thursday evening and ask any question about absolute pitch in the comments area. I’ll answer EVERY question that comes in right there on the spot.
Why am I doing this?
I’m going to be completely transparent here. I want to increase my blog readership and I’m pretty sure that will happen once you see the value in subscribing to this blog.
Web 2.0 is all about open communication and participating in conversations and a blog is one of the best ways to connect with people. I’ll be writing more about how musicians can benefit from blogging soon.
So I hope you join me in the absolute pitch conversation and subscribe to this blog. 🙂
Hey Graham, how long was the maximum and minimun time it took someone to gain AP with your method?
Michael, my gold edition of APP covers relative pitch and a whole lot more.
I aquired the exclusive rights to sell Dick Grove’s See It Hear It/Hear It Play It course.
Grove, now deceased, created a comprehensive musicianship course.
By his definition, an “educated ear” includes:
1. a Melodic ear
2. a Harmonic ear
3. a Rhythmic ear
4. an Orchestral ear
5. a Stylistic ear
6. a Thematic ear
An educated ear can “hear what it sees”, can “see what it hears” and can execute or write down what it hears.
So not only does it cover relative pitch, but it teaches you how to write music down on paper (a skill that only those who know how to do it can attest to its extreme importance) and also to hear whatever you can see on paper.
“Damn,” right?!
The details are available on absolutepitchpower.com. It’s not cheap, but I have payment plans available.
I really don’t want to pitch on this blog, so I won’t say anymore here. The website tells it all, in my opinion.
Pardon me 🙂
The stage I am at is that I can tune my guitar to concert pitch no problem and I am working on recalling the notes. I’ll sing a note (usually aim for A3), if I recognize that I am not singing A3 I will sing up or down until I get to it. Then I sing down a tone to check it is definitely A. If this sounds like G to me, I then sing the A again and finally check it with a tuner. I am pretty much %100 at this but I really want to get it instantly. Have you any tips on how to imagine the note quickly and so recall it instantly?
I was just looking at the gold edtion course you mentioned, and notice that it also contains your silver package course in addition to the Grove course. Is there an upgrade path? For example, buy your silver package first, and then later upgrade to the gold package at a reduced price (rather than needing to buy the silver package twice). 🙂
Welcome to the Blogathon Carmen 🙂
Check out this post in regards to the ‘age’ thing:
http://www.grahamenglish.net/blog/graham-english/ernst-terhardt-writes-about-absolute-pitch/
You don’t need to memorize the pitches in the journey. That’s not the point. The point is to learn how to listen in new ways – and to become ‘aquainted’ with the individual pitches.
You’re right in figuring that it is much easier to transcribe and memorize music with AP. And I know that there’s times when being able to sing live without a starting pitch is very useful.
Keep us all posted on your progress!
oh, one more thing– do you find it useful to listen to the first track on the APP CD 1 for things other than ear training? such as… studying for a test or trying to memorize something?
Vince, I’m going to give you the update. I think it’ll make a big difference.
Hopefully, you’ll be offering your assistance to other beginners on this blog soon! How will that be 🙂
Francisco, are you trying to tell me you don’t own a mac?! 😉
My course doesn’t use any software. It’s all audio.
You mentioned somthing about testing. Practice, test, practice, test, and I don’t know what you’re referring to by test. Did I miss something? How would I test this? I’ve had friends at school plunk out a few notes, but I don’t think that’s the testing you’re referring to. This could also have to do wth an older version of the course. I bought mine abut this time last year, have there been significant changes that I should know about? Thanks. And also, since this is probably my last quetsion of the night, I’d like to thank you very much for having this, you’ve been incredibly helpful. I would strongly recommend holding this blog again. Thanks a lot.
“could you give a reasonable “ball-park†estimate?”
Michael, I really wish I could give you a good answer. Here’s the problem…
I can’t say for sure, but I’m guessing that about 80% of the people who buy APP don’t finish it. I’ve read similar stats about 80-90% of books that are bought but are never read. And I’ve done it too. I buy 5 books a week and read only 1 or 2 🙂
But here’s what I can say, most people that do the testing and send in their results start seeing results – meaning improvement – within a month.
If I had my way, and you followed my method exactly, then you would have AP in 6 weeks or less. Better yet, I wish I could say one thing to you that would unlock it for good. But a new skill, is never as strong as a polished skill.
What I would like to see is every musician ear train for 15-30 minutes a day 5-6 days a week – ALL THROUGHOUT THEIR MUSICAL LIVES. Sorry, didn’t mean to yell 🙂
I go to the gym regularly, and I always create new goals as I achieve my old goals. But if I stopped going to the gym, guess what would happen. My strength would decrease and I’d probably put on some fat. It’s a valid analogy.
Sometimes I wish we could get AP just once and then be done with ear training completely. But life isn’t like that.
For instance, in the gym, I can relax somewhat and maintain what I have. Nothing wrong with that. But I rarely just maintain because I’m a human being that thrives on improvement.
For me, it’s the same with my ear. I can maintain a certain level of hearing by doing less ear training. But then I get inspired by new musical challenges and I raise the bar on myself.
It’s not what most people want to hear. But it’s authentic and with just a simple change in attitude, one can take up ear training as a life long practice that’s enjoyable and fulfilling.
Hey Jim. If a string is a half-step off, I can tune it. E is 164.8Hz and F is 174.6Hz. At this point in time, I can’t tell the difference between 164.8Hz and 165.4Hz. But the farther away it gets, the more I notice the difference. I don’t have any exact numbers to the acute detail of my pitch recognition.
However, it’s a future goal of mine. It doesn’t seem to have much usefulness right now for me.
But how cool would it be if you could distinguish the difference between 164.8Hz and 164.9Hz?
I think then I’ll start bragging about it 🙂
Jb, I’m guessing I’ll never know the longest time it takes somebody because I might be dead 😉
As far as what people have told me, I think the longest it has taken someone was 9 months. The shortest time that I know for sure was 2 months.
Ok, so Ross, it seems that all you need to work on is speed, right? Well, let’s think of this like sports. We need to increase your timing. The first thing I would do is get a stop watch. Then I would time yourself so you know what time you need to beat.
You seem very close to making your AP instant. Maybe just by bringing awareness to the speed will help to bridge the gap.
There’s a thing called the Hawthorne Effect:
http://en.wikipedia.org/wiki/Hawthorne_Effect
The Hawthorne effect refers to improvements in productivity or quality which result not so much because of intended changes to working conditions, but mainly because the workers are aware of extra attention being paid to them.
In effect, that which you measure, increases.
Let’s see, I mean, hear what happens 🙂
Yes, Michael. There’s an upgrade path in the members area. I believe the URL is:
http://silver.absolutepitcheartraining.com/upgrade.html
You’ll need your login/pass
Yeah, Carmen. I think the first track is very useful anytime you need to be in a good mental state. Especially, when you are studying, practicing, taking tests, or if you want to improve your creativity. It has so many uses. Eventually, after hearing it a number of times, you won’t even need the track. You’ll just remember what the state feels like and immediately be able to access it. It will be conditioned.
Kevin, email me and I’ll hook you up:
[email protected]
But here’s how you test:
Go to:
http://www.good-ear.com/servlet/EarTrainer?chap=7&menu=3
Find out how many you get correct out of at least 20 tries. DO NOT USE RELATIVE PITCH. Sorry, I’m yelling again 🙂
If you catch yourself comparing the note you are hearing to the previous tone, then stop. Let me give you a hint, if you don’t know the pitch immediately, then you’re not using absolute pitch. And that’s what you’re testing here. So just guess and move on. Just go for the feeling of certainty. And if you don’t have it. Then just guess and move on.
By the way, this blog is always available for comments. I post ear training tips frequently so I highly recommend getting an RSS reader and subscribing my blog. That way you’ll get updated everytime I post something. And hopefully you’ll comment when you can.
Blogging is all about community. Together, we can co-create the content on this site and maybe help some musicians out there. And I cover a lot more than just ear training. There’s so much happening right now with digital rights management and podcasting and music publishing that it’s really time to use technology to your advantage because there’s a sea of music lovers out there that are dying to get their hands on some of your music!
Thanks a lot for participating 🙂
Sure ! Hopefully, I’ll be offering my assistance to other beginners on this blog soon!
How will that be
What are the amendments in the updated version of your method ?
I’m obliged to remain in the first set of tones C, E, G & E ? May I go further before being flawless with the first set of notes ?
I think that if you have one note REALLY established in your mind, this means that you already have absolute pitch for the rest of the chromatic scale. It may be like having a well tuned mind, I suppose. A friend, a blind with a “born with†absolute pitch “gift†told me that sometimes it could happen that he hears all the tones half step higher or lower. But all is ok for him after he heard any note.
I think using different methods may be good, it’s like seeing the same thing from different angles in order to better appreciate the same thing. I think it’s like learning a standard listening all the recorded version available in order to extract a part of the quintessence of the composition with the goal of creating your own version.
I think it’s a pity to see on the internet people denigrate your method, or another author.
A method is by itself incomplete and you can fill the gaps hearing more than only one bell sound.
In fact you also recommend to practice the tones you are learning with an instrument.
You recommend to test oneself, so you recommend to practice in a real context.
Have I well understood ?
One more Thank You !
Vince, version 2 is almost entirely different. We still use the Journey but I provide much more structure around it.
You’ve understood pretty well 🙂
Let’s get you started with APP V2!
Hi there. So, your course is all audio, on CD’s perhaps? I have good relative pitch, and probably that half-step-off sort of perfect/absolute pitch. I always love finding new (accessible) resources to improve my music-listening skills. I’m totally blind, and am learning to play the flute by ear. I’m also learning some about Braille Music notation along the way, but there isn’t a whole lot of beginning flute stuff that I’ve found in braille so far. I read through your website a few weeks ago or so, so I don’t remember all of the particulars, but what is that one course that comes with the gold, as opposed to silver? Is it in audio format, too? I’m thinking that once I learn enough about braille music, I’ll be able to “hear” it in my mind as I read it, or so I’m told will eventually happen. Also, any tips for memorizing music? I definitely hear it in my head as I’m playing, it’s just a matter of getting all of my fingers to work right, LOL. Whether by ear or braille music, I need to memorize in order to play.
Thanks for having this Blogathon. It’s definitely better than instant messenging, since we can read the questions of everyone else, and the responses. Way to go!
I know it is not easy to answer but can you announce a success rate of your method ? Keeping in mind that it is a rate concerning people who use your method assiduously till the “endâ€.
It has been too much time that I’m craving for having absolute pitch that it seems out of reach. Maybe I’m doing self sabotage ?
I think you are sensitive to this kind of recurring question. Maybe fed up of this question but it burns my lips.
I think and imagine that it’s vital to have absolute pitch, especially for improvised music as jazz.
I imagine how good it feels to have absolute pitch. But I wonder when and how I will gain true perfect pitch.
Please reassure us.
Hi Tina. Absolute Pitch Power Standard is audio download, Absolute Pitch Power Silver is on CD plus some extras. The Gold edition comes with the Dick Grove See It Hear It/Hear It Play It course. That course is on CD, DVD, and comes with a text book, an assignment book, and an answer book. There are 12 chapters total.
My tips for memorizing music are this:
Use the review cycle. Which is review after 1 hour, review again after 1 day, and again after 1 week, and again after 1 month. That strategy is really effective. Also, first ideas and last ideas are most memorable so create many beginnings and endings in your practicing – if that makes sense. The ideal sequence for memorization is to first relax, and then learn. Take a break and then come back and summarize what you’ve learned so far. Take the music apart and briefly review themes, etc. Then repeat this sequence after a good night’s sleep 🙂
I’m really interested in hearing more about learning braille music notation. Please keep us posted and come back to the blog as often as you like 🙂
What do you think about Chris Aruffo’s methods : the older one and the new one (Absolute Pitch Blaster) ?
Does his methods interfere negatively or positively with your method ?
What do you thing in general of the concurrent products ?
Especially those of your detractor, for not to mane him.
Intend you to reiterate this blogathon ?
You’ve done a marvellous thing.
Too marvellous for words but maybe not for notes.
Vince, I wish I could give you some numbers but I can’t. The truth is that most people don’t stay in contact. I’ve been working on fixing this and this blog is one solution – a place for conversations. I’ve also put a testing mechanism in place so I can get feedback on your progress. But still, most people don’t follow through.
Just know this, it IS possible.
I believe that you have to be totally willing to fail. Only then will you let go enough to relax into the process. And honestly, what if you never developed AP? Would it be so bad? It’s not an absolute necessity to make beautiful music. Sure it will help and I understand your desire because I’ve felt it myself.
So like I said in a previous comment, what I would like to see is every musician ear train for 15-30 minutes a day 5-6 days a week forever. You will improve if you do that.
I checked out one of Chris’s early products. I don’t even remember what I thought of it. So I can’t comment on that or his new product.
Again, I would stick to one method at a time. I believe it’s the straight line approach. But give yourself a deadline. Make it at least 6 months out. If you want to change paths at that point, then consider your options.
I’ll be doing more blogathons – on other subjects too. But what I would really like to see is more continuous commenting on the blog rather than a short and intense time like this. I’m just trying to get the ball rolling here tonight 🙂
Thank you very much ! It was a nice experience. See you soon !
i know i have perfect pitch
but it only kicks in sometimes
usually at the wee hours of the night
however i have trouble hearing tones during the day
wierd huh?
and i only have perfect pitch for the white keys on the piano and f# sometimes
why?
thanks
Hello there, Graham, and thanks for your memorization tips. My flute teacher records the music that I’m learning, so I listen to it several times through, until I get it stuck in my head, and find myself wandering around humming it to myself, LOL. Then, I work at playing the easier phrases, and work up to the more technically challenging parts, not even necessarily in the order the song goes. So, I suppose those are my “beginnings and endings,” so to speak. Only problem, is that then in lessons, I end up stopping and starting at various points in the middle of a piece, and can put it together all the way and connect up the bits the second (or more) times through. I think it might drive my teacher a bit crazy at times, connecting the end of one bit to the beginning bit of the next phrase. So far, it seems to usually work. I end up practicing daily, and usually in a couple or few chunks throughout the day, not just all at once, and this seems to help a lot, too, in terms of being able to focus and concentrate.–Particularly since I’m NOT a morning person, more of a night owl, *grin*.
Would you mind if I Email you a few specific questions about the standard vs. silver? With the silver, can one still download the .pdf files? I’m not sure if my computer will read those, particularly if they have a lot of graphics. Text in .pdf is usually pretty manageable these days, thanks to some of the access features in Adobe Reader 7.0. Thank goodness, it’s about time!
I don’t want to clog up the blog with super specific questions about printed materials vs. electronic format, etc.
Thanks again, and for info on some really neat stuff having to do with braille music, and access to music software for blind people, check out http://www.DancingDots.com I don’t have any of their software yet (since it’s expensive!), but I’m working on getting some funding together for a program called GoodFeel, which can scan in print music, and ultimately translate that into braille music notation. The only thing is, that the scanned music might need to be edited for scanning errors by a sighted musician, but the person helping with editing doesn’t actually have to know anything about the braille music code. That would be really neat! They have several books available for sale, including a really good one called How to Read Braille Music (both braille, print, and CD-ROM versions). It introduces the student/teacher to the basics of braille music notation.
In a nutshell, the standard braille cell is made up of any combination of dots in a rectangle that’s two dots wide and three dots high. Though some symbols mean different things in one code to another (literary, math, music, computer braille, etc.), in the context of music, the following is usually true:
The four dots in the top part of the cell make up the note letter/name. The two dots at the bottom represent the note’s value. There are 7 patterns (representing C through B), and four values: whole (both bottom dots), half (just the bottom left dot raised), quarter (bottom right dot raised), and no dots at the bottom for eighths). When you get to smaller values, the pattern for whole, for example, is used for sixteenths, and logic would dictate that if you have a string of notes in a measure, with bth bottom dots, you can assume they are sixteenth notes.
So, when braille music is written, it is a string of linear characters, where spaces denote bar lines. Each line begins with the measure number. Of course there are signs for time signatures, key signatures, accidentals, dynamic markings, etc., but that would be a bit tough to summarize in a couple of paragraphs, LOL. There are also octave marks, since there’s not the spatial reference of a printed staff, but there are certain rules about when and why they are used, based on interval relationships from one note to the next.
Well, sorry for rambling on, but it’s neat when people are interested in how braille music works. Some blind people read it, but a lot do not, unfortunately. Until I found Bettye Krolick’s How to Read Braille Music, that was the first book that really helped braille music notation start to make some sense to me. 🙂
Thanks again, and hope you’re having a good evening.
Hey Benny. Thanks for joining the party 🙂
So you have situational AP? Lots of people report this and sometimes it really is weird – especially in your case – only during the night?! 🙂
I don’t have much of an explanation for it but it does mean that your AP could use more practice – and you should probably practice during the day.
Perhaps it’s some sort of conditioning to the moment. The night is an anchor for your natural ability.
So I would practicing at manifesting AP during the day and find out what happens.
Interesting dilemma. Thanks for sharing.
Wow Tina. Thanks for the braille tutorial. Truly fascinating.
Sure you can email me: [email protected]
I hope I can be as much assistance to you as you just were to me 🙂
I don’t have graphics in the pdf versions except in the header. There’s one chart in there but it’s not crucial to the understanding and I could easily give you everything in straight text.
Look forward to hearing from you and yes, I’m having a great evening 🙂
Benny, I imagine that situational AP might be related to your general level of alertness/mood. For instance, I’m definitely more of a night owl than a morning person, so if I’m writing something, whether it is a long/intense Email, or some other project, I have my best and most meaningful/creative ideas, well, right about this time of night, LOL!
I think I understand your experience of only being able to identify white keys on the piano. It has to do with the area of your brain that deals with specifics of pitch discrimination. Apparently, from what I’ve read, for people who either have or acquire “absolute” pitch, the neurons become more sensitized to a specific range of frequencies. Maybe your brain hasn’t quite gotten tuned into the sharps and flats, but if you can discern the white keys, the black ones aren’t very far off with consistent practice, I’d imagine.
Another strange thing, and it’s probably another issue of how much exposure I’ve had, but I tend to very quickly pick out things if they are in the major keys of C, D, F, G, and usually B-Flat, (and the relative minors thereof), but if I hear something and figure out from a reference tone that it’s actually in E-major for instance, it can sometimes fake my mind out. Once I’d hear the tonic note of the piece, and then compare it to a reference pitch, the rest of it sort of falls into place.
Part of it, is that with tapes in particular, the speeds of the recording machine, and the machine that plays, might be just a little off, and this would inherently throw off all of the pitches by several hertz. So, that’s why I suspect that my ability for “absolute pitch,” is still a little relative either way, until I hear it in context with something else, if that makes sense. Yeah, I think it was Graham who commented earlier, that we can hear and distinguish something that’s say, ten or fifteen hertz apart, but not when it gets to pitches being out of tune by a matter of cents. Well, at least singlely, but if two instruments playing the same note are out of tune with one another, that’s a bit more obvious to pick out, by hearing the beats created by the frequency offset.
Well, just some other thoughts to mull over.
Great advice, Tina.
Ok. Wow. This was fun 🙂
I’m closing down commenting on this post. 81 total.
Thank you so much for your participation. Please, get yourself a RSS reader and subscribe to this feed. You’ll be glad you did.
I’m going to be talking a lot more about the value of RSS to musicians very soon. You’ll wonder how you ever got along without it.
Thanks again for a successful blogathon!
😀