EXERCISE 6Instead of singing tones for two minutes, alternate back and forth, naming just onetone to the other to sing for a total time of 4 minutes. Next do ten minutes of auralchords analysis, except this time use 3 tones. You may spread tones but stay with in4 octaves.Proceed only when you reach 95 % accuracyEXERCISE 7The schedule is now:a) 4 minutes of alternate pitch singing (dont forget to choose and sing a pitch beforeyou start)b) 5 minute of pitch naming with C, C#, Eb, F# and A ; switch with partnerc) 5 minutes of aural chords analysis using two and three note chords, switchpartnerNote the addition of C# to your list.... spend additional few minutes listening to thecolor of C# within 4 octaves range. what does C# sounds like ? (do you notice a"vibrant" quality similar to F#?).When practicing aural chord analysis dont tell your partner you are using 2 or 3notes !Total time 25 minutes. Proceed only when you reach 95 % accuracy.EXERCISE 8Add E to your list of tones and do Exercise 7. Proceed only when you reach 95 %accuracy.EXERCISE 9Add G to your list of tones. Proceed only when you reach 95 % accuracy.
EXERCISE 10Add Bb to your list of tones. Proceed only when you reach 95 % accuracy. Use 2, 3and 4 notes on the aural chord analysis.EXERCISE 11Add D to your list of tones. Proceed only when you reach 95 % accuracy.EXERCISE 12Add F to your list of tones. Proceed only when you reach 95 % accuracy. You maywish to spend more time, but no more then 30-35 minutes (Instrumentalists notpracticing aural chord analysis may go to 20 minutes of they wish).EXERCISE 13Add B to your list of tones. Proceed only when you reach 95 % accuracy.EXERCISE 14Add F to your list of tones. Proceed only when you reach 95 % accuracy. You maywish to spend more time, but no more then 30-35 minutes (Instrumentalists notpracticing aural chord analysis should change their instrument to piano or guitarand return to exercise 7 upon mastery of this exercise). Having gained colordiscrimination this will enable further ear-training with chords simultaneouslydeveloping universal color discrimination). Aural chord analysis is very differentfrom pitch naming with single tones and will secure much greater clarity of pitchcolor recognition. Having become sensitive to colors on your instrument your earwill learn groups of tones.For (a) and (b) of each exercise use chromatic tones, but for aural chord analysis useonly the tones included in the exercise - part (c)EXERCISE 15All chromatic tones within the four octaves have been included... if you have beempracticing at a moderate rate then the abstract sense of color awareness has nowbeen cultured at the point where you have color discrimination.
The focus now is to expand in order to include all the "tints" of a tone is all octaves.You are familiar at this point how the each tones sound the same in each octave,except that each octave seems to be a different "shade" of that same color. Todistinguish between octaves we will label each tone with an unique name. Theeasiest way to do so is to simply number consecutively each of the twelve chromatictones from bottom to top.. thus the lowest notes on the keyboard are: A1, Bb1, etc.Middle C is C4. (The lowest guitar tone is E2. For instruments not pitched in C usethe number of the identical piano pitch. For example, Bb5 on a piano would be a C5on a Bb clarinet).Practice this exercise exactly as the last but learn the specific name you have beenusing.A good technique for pitch naming drill is to plat at a fast, constant speed to see howquickly you or your partner can perceive and name tones. It is not necessary toname which octave the tone is when practicing speed.You are now ready to use and advanced method to help you remember the pitchcolor tone. The best way to imagine what a tone sounds like is to imagine the colorsound fo a major chord which uses that tone as its keynote.For example if your partner asks you to sing an A, effortlessly try to remember howan A chord sounds like. Then after attempting to sing an A, have your partner playa A chord with A, C# and E in close position. After practicing this way, you willquickly learn the different color patterns of major chords. This will greatly aidyour color memory because you will hear the color of a pitch and also the colorpattern of a chord as different as other chords.When errors are made in this exercise you have not yet remembered the pitch colorscorrectly. Listen carefully to the chord built on that note. Then without playing hearthis chordal color pattern in your head. Sing the keynote.Pitch singing in this manner is now extremely important... when practicing auralchord analysis use these same major chords from time to time.EXERCISE 16Continue as before but add one octave in each direction. Play single tones frequentlyin these extremes. Chord tones may be spread out as far as youd like. Dont strainwith chords on the low register, they would be so muddy that even Mozart wouldntrecognize them. Complete chords should be used in the extreme upper range.EXERCISE 17
Add the remaining tones. These will be "ear teasers" but in time you may masterthem.EXERCISE 18You have now cultured your ear to a high degree of color discrimination. Youshould now broad your pitch color discrimination to include all instruments, even agrandfather clock striking the hour.One way is to go to the piano, open it up and pluck the strings inside. Have friendssit with their instruments so you can get used to the sound of pitch color of theirinstruments. Check in which key a song is played, on the radio, concerts, records.Listen to any sound: church bells, horns, water, cats !!The most important exercise to practice is pitch singing. When you can remember atone without hearing it first you have mastered color hearing technique.Proceed when you have 95 % accuracy in naming any pitch for any instrument(universal color discrimination) and pitch singing (aural recall).XIII - EAR TEASERS FOR SUPER EARS...These are not impossible exercises and should be approach with fun. I had acolleague during high school and both of us used to create outrageous exercises totest each other.- Locate an entire octave of a diatonic scale. Leave one out and play all the otherssimultaneously in one tone cluster. Have your partner name the missing tone....repeat using scales in different keys. Hint: first listen for and identify the key tone.Then climb the scale and listen to the "gap"- Play all but one of eight consecutive whole-tone scale tones together. Name themissing tone.- Play five to ten tones in any kind of chord. Name all tones in order. Be sure theplayer strikes in even manner. Watch out because you may hear overtones... this is abetter exercise if all the intervals and half and whole tones.- Play all but one of the seven to ten consecutive chromatic tones together in onetone cluster. Name the missing note as well as the low and high tones.
_ Find a partner who plays the same instrument. One individual plays scalesstarting in any key, moving up to successive chromatic keys upon completion of eachkey, while the other tries to locate where the tones are._ Listen to some progressive modern music... choose any note and listen for itsomewhere in the music. Go up the chromatic scale until you have listened for andpicked out each tone.- Try to tune your guitar or other string instrument to concert pitch by ear all alone.Check yourself on a tuning fork or piano.- Use any musical score, take a melodic line and slowly listen mentally to the pitchcolor of each tone. Go very slowly and listen closely to the pitch in your mind.XIV - PERFECT PITCH , MUSIC AND HIGHER CONSCIOUSNESSThese chapter talks about how the awareness of perfect pitch and its relation toYoga and how gaining perfect pitch makes you become more conscious of otherthings..UF ! =========================================== Release was edited by SC ===========================================