Functional pitch recognition
Functional pitch recognition involves identifying the function or role of a single pitch in the context of an established tonic. Once a tonic has been established, each subsequent pitch may be classified without direct reference to accompanying pitches. For example, once the tonic G has been established, listeners may recognize that the pitch D plays the role of the dominant in the key of G. No reference to any other pitch is required to establish this fact.
Many musicians use functional pitch recognition in order to identify, understand, and appreciate the roles and meanings of pitches within a key. To this end, scale-degree numbers or Solmization solfège (do, re, mi, etc.) can be quite helpful. Using such systems, pitches with identical functions (the key note or tonic, for example) are associated with identical labels (1 or do, for example).
Ear Training is the development of the active and passive capability to relate to music aurally. This includes the ability to recognize melodic and harmonic intervals, chords, chords progressions, rhythm, melody and harmony. This is a skill by which musicians learn to identify, solely by hearing, pitches, intervals, melody, chords, rhythms, and other basic elements of music. The application of this skill is analogous to taking dictation in written/spoken language. Ear training may be contrasted with sight-singing, which is analogous to reading aloud in language. Ear-training is typically a component of formal musical training.
Relative Pitch - The term relative pitch may denote:
1) the distance of a musical note from a set point of reference, e.g. "three octaves above middle C"
2) a musician's ability to identify the intervals between given tones, regardless of their relation to concert pitch (A = 440Hz)
3) the skill used by singers to correctly sing a melody, following musical notation, by pitching each note in the melody according to its distance from the previous note. Alternatively, the same skill which allows someone to hear a melody for the first time and name the notes relative to some known starting pitch.
WidipediA link
Playing by ear
Before talking about playing by ear, one needs to understand what is commonly called ear training. As the WikipediA definition for Ear Training mentioned, ear training has an active and passive roll.
Passive Ear Training
PASSIVE EAR TRAINING is the ability to recognize and name intervals, chords, chord progressions, melodic sequences, rhythm, etc... An example of passive ear training would be if someone played the first two notes of the song "Here Comes the Bride" you can recognize them as an interval of a perfect fourth. You might not know the actual pitches, that would be perfect pitch, the ability to identify or re-create a given musical note without the benefit of an external reference.
ASCENDING Intervals
- Unison: ( Do - Do* )
Happy Birthday To You
- Minor second:
Theme from Jaws (movie), Pink Panther
- Major Second: ( Do - Re )
Frere Jacques
Do A Dear
Silent Night
- Minor Third:
Smoke on the Water
Brahms' Lullaby
First two notes of a Blues scale
Greensleeves
- Major Third: ( Do - Mi )
Michael Roow Your Boat Ashore
When the Saints Go Marching In
Kum By Ya
Have Yourself a Merry Little Christmas
- Perfect Fourth: ( Do - Fa )
Here Comes the Bride
The Look of Love
Auld Lang Syne ("Should Auld...")
- Tritone (♯4 or ♭5):
The Simp - sons
Ma ri a, from West Side Story
- Perfect Fifth: ( Do - Sol )
Twinkle, Twinkle Litle Star
My Favorite Things
Theme from Star Wars
Hey There Georgie Girl
- Minor Sixth:
Black Orpheus
Theme From Love Story
Scott Joplin's The Entertainer (Main theme after the intro)
In My Life (guitar intro)
- Major Sixth: ( Do - La )
My Bonnie Lies Over The Ocean
the N B C theme
I Heard the Bells
Take the A Train
- Major Seventh: ( Do - Ti )
Theme from Fantasy Island
- Minor Seventh:
Theme from Star Trek
Somewhere (from West Side Story)
- Octave: ( Do - Do )
Hi Ho Hi Ho
Some where Over the Rainbow (then descends a minor second to the major seventh of the scale
Let It Snow
The Christmas Song
* Fixed do solfège. In the fixed do system, accidentals do not affect the syllables used. For example, C, C♯, and C♭, as well as C double sharp and C double flat are all sung with the syllable "do", For more information, history and visit the Wikipedia page for Solfège
DESCENDING Intervals
- Minor second:
Joy to the World
Jingle Bell Rock
Stella by Starlight - Major Second:
Three Blind Mice
Mary Had a Little Lamb
Satin Doll - Minor Third:
Camptown Races
This Old Man
Misty, Start Spangled Banner - Major Third:
Beethoven's 5th (G G G Eb)
Summertime - Perfect Fourth:
Old MacDonald
Frere Jacques ("Ding Dang Dong...")
When Johnny Comes Marching Home
I've Been Working on the Railroad - Tritone:
The Simp - sons
Ma ri a, from West Side Story
- Perfect Fifth:
Feelings
Have You Meet Miss Jones
Seven Steps to Heaven
Flintstones Theme (Flint stones meet the ... - Minor Sixth:
Your Everything
- Major Sixth:
Crazy
- Minor Seventh:
Watermelon Man
- Major Seventh:
I love you (Cole Porter)
- Octave:
Hi Ho Hi Ho
Some where Over the Rainbow
Crazy (2nd line "I'm crazy..."
Willow Weep For Me
ASCENDING Scales
- Major Pentatonic:
My Girl guitar lick, I Saw Mommy Kissing Santa Claus
DESCENDING Scales
- Major Scale:
Joy to the World
ASCENDING Arpeggios
- Major 7th chord:
Jingle, Jingle, Jingle (the first four notes a major seventh chord, the 1 3 5 7 of the major scale of key of the song.
Active Ear Training
ACTIVE EAR TRAINING is the ability to reproduce intervals, chords, chord progressions, melodic sequences, rhythm, etc... An example of active ear training would be to play the first two notes of the song "Here Comes the Bride" anywhere on your instrument or sing that interval (in tune).
Where the Ear Fits In - (Ear, Hands, Mind)
The hands are the weakest link in the Ear to Hands to Mind combination that is used to play music (by ear) and the hands need to be trained to follow the ear. It is the hands training that takes the longest.
The ear can remember stuff after ONE time hearing it. The Mind two or three and the hands to develop the muscle memory take about a few hundred times. How else can we recognize melodies after hear it once?
When practicing you should be doing stuff to train the hands to follow the ear. That is the sequence for developing this connection:
Mind to Hands to Ear
The Mind tells the Hands what to play and the Ear listens. DON'T practice by ear. Have a plan and organization of the material you would like to cover.
Practicing your scales in intervals of 2nds, 3rds, 4ths, 5ths, 6ths, 7ths, etc... Some more common than other for melodies. Practice both ascending and descending. I would go with 2nds, 3rds, and 6ths first.
When performing or "Playing by Ear" the sequence is:
Ear to Hands to Mind
The Ear tells the Hands what play and you can involve the Mind if needed or wanted after the fact.
The hands will not do anything they have not done before.
So to be able to play by ear you either:
1) Hunt and Peck enough to train your fingers to follow the ear – or –
2) Have a plan to train the ear and hands to work together, thus making the hands to the ear connection quicker. Creating a plan is where a teacher can really help. And, if you've had bad experiences with teachers don't give up on them just try another teacher, good teachers are out there. Typically jazz musicians will be the best teachers in the playing by ear department. Remember playing by ear does not mean practicing by ear. Practicing and learning are different then performing.
Here is an example of learning a specific interval. The first two notes of "Here Comes the Bride" are a perfect fourth. Try putting any finger on any note of the ukulele and then play the second, "Here Comes..." correctly the first time. If you can't the fingers haven't been trained enough to "Play by Ear", to obey the hands for the particular sound of that interval. This is then where the mind comes in and intellectually knows where the interval of a perfect fourth is and trains the hands to follow the ear.
Same goes for chords, chord progressions, melodies, rhythms. The process starts with the mind telling hands what to do and the ear taking it all in.
The real goal with music is to Play by Ear.
Learning music by ear is done by repeatedly listening to other musicians and then attempting to recreate what one hears. This is how people learn music in any musical tradition in which there is no complete system of musical notation. Many people in cultures which have notation still learn by ear and ear training, often through a musicianship course at a music conservatory or college, is common practice among those who use notation extensively.
I've emphasize the attempting in the first sentence above. With a little knowledge of the principles of music the attempting can simply be recreating.
“Do, or do not. There is no 'try.”
Jedi Master Yoda, from Star Wars I
Links
Web Sites
Articles
- IWasDoingAllRight - Free on-line ear training tool by Disc Makers
Software iPhone/iTouch
- Karajan - Music & Eartrainer for iPhone & iPodTouch
KARAJAN is an easy to use music and ear training application for the iPhone and iPod Touch.
- Do Re Mi Ear Training
Do Re Mi Ear Training is a Solfège practice partner on your iPhone and iPod Touch! This app helps you develop pitch recognition, memory, and transcription ability by playing musical phrases for you to repeat back.
- Clarion
Check out Jim D'Ville's web site.
Jim has based his entire ukulele career on helping ukulele players “Play by Ear”
Related Lessons for: Scales
Here a few lessons that might be of interest to the topic and principles covered in this lesson.
46 Lesson(s)
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Common Chord Progressions for the Key of A
Common chord progressions for the key of A. UL47c: Published: February 15, 2013, 12:45 pm | Updated: April 14, 2013, 3:41 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of Ab
Common chord progressions for the key of Ab. UL55c: Published: February 15, 2013, 12:47 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of B
Common chord progressions for the key of B. UL49c: Published: February 15, 2013, 12:47 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of Bb
Common chord progressions for the key of Bb. UL53c: Published: February 15, 2013, 12:47 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of C#
Common chord progressions for the key of C#. UL51c: Published: February 15, 2013, 12:47 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of Cb
Common chord progressions for the key of Cb. UL58c: Published: February 15, 2013, 12:48 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of Db
Common chord progressions for the key of Db. UL56c: Published: February 15, 2013, 12:48 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of E
Common chord progressions for the key of E. UL48c: Published: February 15, 2013, 12:46 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of Eb
Common chord progressions for the key of Eb. UL54c: Published: February 15, 2013, 12:47 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of F
Common chord progressions for the key of F. UL52c: Published: February 15, 2013, 12:47 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of F#
Common chord progressions for the key of F#. UL50c: Published: February 15, 2013, 12:47 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Common Chord Progressions for the Key of G
Common chord progressions for the key of G. UL45c: Published: February 15, 2013, 12:42 pm | Updated: April 5, 2013, 8:10 am | Author: Curt Sheller | |||
Connecting Scale Positions on Ukulele
Whether it’s connecting licks, riffs, scale positions, arpeggios, sequences or melodies – navigating the fingerboard and connecting positions it's all about using the fingering principles from my book The Six Secrets of Ukulele Fingering. UL28: Published: January 12, 2013, 1:42 pm | Updated: April 19, 2013, 12:57 pm | Author: Curt Sheller | |||
Diminished Scale for Ukulele - C Tuning
The Diminished scale is a symmetrical scale with a repeating pattern of whole steps and half steps. UL25b: Published: January 2, 2005, 12:00 pm | Updated: April 30, 2013, 10:50 am | Author: Curt Sheller | |||
Essential Bb Major Scale Patterns for Ukulele
Essential Bb Major scale patterns for ukulele. UL04-Bb-ION: Published: February 5, 2013, 9:38 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Essential C Major Scale Patterns for Ukulele
Essential C Major scale patterns for ukulele. UL04-C-ION: Published: February 5, 2013, 9:40 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Essential D Major Scale Patterns for Ukulele
Essential D Major scale patterns for ukulele. UL04-D-ION: Published: February 5, 2013, 9:42 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Essential Db Major Scale Patterns for Ukulele
Essential Db Major scale patterns for ukulele. UL04-Db-ION: Published: February 5, 2013, 9:38 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Essential Eb Major Scale Patterns for Ukulele
Essential Eb Major scale patterns for ukulele. UL04-Eb-ION: Published: February 5, 2013, 9:38 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Essential F Major Scale Patterns for Ukulele
Essential F Major scale patterns for ukulele. UL04-F-ION: Published: February 5, 2013, 9:43 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Essential G Major Scale Patterns for Ukulele
Essential G Major scale patterns for ukulele. UL04-G-ION: Published: February 5, 2013, 9:38 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Essential Jazz Scales for Ukulele
After you mastering the six essentials scales below and start to explore more advances styles of music, especially jazz. There are a few more scales that are needed to cover the broader harmonic palette that a typical jazz tune draws from. UL04j: Published: October 5, 2012, 11:29 am | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Harmonic Analysis - Scale Selection
MLRMAe-10: Published: April 6, 2012, 9:31 pm | Updated: April 22, 2013, 3:54 pm | Author: Curt Sheller | |||
Learning The Blues Scale on Ukulele
A practical approach to learning the Blues scale on ukulele. The Blues scale is one of the first scale most plays whatn to learn. It's a great to build on for your additional essential scales. UL13: Published: January 2, 2005, 12:00 pm | Updated: April 9, 2013, 12:31 pm | Author: Curt Sheller | |||
Primary Chords - C Major
The primary chords for any major key are the I, IV and V chords of it's corresponding major scale. For C Major the primary chords are: C, F, G and G7 UL44a: Published: February 8, 2013, 12:36 pm | Updated: April 14, 2013, 3:41 pm | Author: Curt Sheller | |||
Primary Chords - Cb Major
The primary chords for any major key are the I, IV and V chords of it's corresponding major scale. For Cb Major the primary chords are: Cb, Fb, Gb and Gb7 UL58a: Published: February 8, 2013, 12:48 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Primary Chords - E Major
The primary chords for any major key are the I, IV and V chords of it's corresponding major scale. For E Major the primary chords are: E, A, B and B7 UL48a: Published: February 8, 2013, 12:42 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Primary Chords - G Major
Primary chords for the key of G. UL45a: Published: February 15, 2013, 12:39 pm | Updated: April 5, 2013, 8:15 am | Author: Curt Sheller | |||
Secondary Chords - C Major
The secondary chords for any major key are the II, III and VI chords of it's corresponding major scale. For C Major the secondary chords are: Dm, Em and Am UL44b: Published: February 8, 2013, 12:53 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Secondary Chords - E Major
The secondary chords for any major key are the II, III and VI chords of it's corresponding major scale. For E Major the secondary chords are: F#m, G#m and C#m UL48b: Published: February 8, 2013, 12:57 pm | Updated: April 14, 2013, 3:40 pm | Author: Curt Sheller | |||
Six Essential Scales - Aeolian/Natural Minor Chords
Aeolian/Natural Minor is one of the six essential scales that every ukulele player should know. Here are the chords for all 15 Aeolian/Natural Minor scales. UL04-QS-AEOLc: Published: February 7, 2013, 12:41 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Aeolian/Natural Minor Scale Shapes
Scale shapes summary for Aeolian/Natural Minor, one of the six essential scales that every ukulele player should know. The scale formula for this scale, based on the major scale is: 1 2 b3 4 5 b6 b7 8`. UL04-QS-AEOLs: Published: February 7, 2013, 1:22 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Blues/Minor Pentatonic Chords
Blues/Minor Pentatonic is one of the six essential scales that every ukulele player should know. Here are the chords for all 15 Blues/Minor Pentatonic scales. UL04-QS-BLUESc: Published: February 7, 2013, 12:45 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Blues/Minor Pentatonic Scale Shapes
Scale shapes summary for Blues/Minor Pentatonic, one of the six essential scales that every ukulele player should know. The scale formula for this scale, based on the major scale is: 1 b3 4 5 b7 8`. UL04-QS-BLUESs: Published: February 7, 2013, 1:22 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Dorian/Minor Chords
Dorian/Minor is one of the six essential scales that every ukulele player should know. Here are the chords for all 15 Dorian/Minor scales. UL04-QS-DORc: Published: February 7, 2013, 12:44 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Dorian/Minor Scale Shapes
Scale shapes summary for Dorian.Minor, one of the six essential scales that every ukulele player should know. The scale formula for this scale, based on the major scale is: 1 2 b3 4 5 6 b7 8`. UL04-QS-DORs: Published: February 7, 2013, 1:24 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Ionian/Major Chords
Ionian/Major is one of the six essential scales that every ukulele player should know. Here are the chords for all 15 Ionian.major scale. UL04-QS-IONc: Published: February 7, 2013, 12:35 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Ionian/Major Scale Shapes
Scale shapes summary for Ionian/Major, one of the six essential scales that every ukulele player should know. The scale formula for this scale, based on the major scale is: 1 2 3 4 5 6 7 8`. UL04-QS-IONs: Published: February 7, 2013, 1:23 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Mixolydian/Dominant Scale Shapes
Scale shapes summary for Mixolydian/Dominant, one of the six essential scales that every ukulele player should know. The scale formula for this scale, based on the major scale is: 1 2 3 4 5 6 b7 8`. UL04-QS-MIXs: Published: February 7, 2013, 1:24 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Pentatonic/Major Pentatonic Chords
Pentatonic/Major Pentatonic is one of the six essential scales that every ukulele player should know. Here are the chords for all 15 Pentatonic/Major Pentatonic scales. UL04-QS-PENTc: Published: February 7, 2013, 12:46 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales - Pentatonic/Major Pentatonic Scale Shapes
Scale shapes summary for Pentatonic/Major Pentatonic, one of the six essential scales that every ukulele player should know. The scale formula for this scale, based on the major scale is: 1 2 3 5 6 8`. UL04-QS-PENTs: Published: February 7, 2013, 1:21 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Six Essential Scales for Ukulele
The six essential scales are: Blues, Major Pentatonic, Mixolydian, Dorian, Aeolian, and Ionian. These six can get you through a wide variety of traditional and contemporary music. UL04: Published: January 2, 2005, 12:00 pm | Updated: April 22, 2013, 3:53 pm | Author: Curt Sheller | |||
Ukulele Doodling - An Introduction to Scales and Soloing on Ukulele
An Introduction to Scales and Soloing on Ukulele using the C Pentatonic Scale. Taking what you might already know and using it in different ways. Exploring the entire ukulele fingerboard. Anyone can have hours of fun just doodling around and exploring the ukulele's possibilities. UL107: Published: January 2, 2005, 12:00 pm | Updated: May 7, 2013, 9:55 am | Author: Curt Sheller | |||
Ukulele Scale Diagram Explained
The ukulele scale diagram is explained. A chord or scale grid is an alternate, visual why of showing a scale pattern. Ul72: Published: April 9, 2013, 10:01 am | Updated: April 9, 2013, 8:06 am | Author: Curt Sheller | |||
What is the different between a Scale and a Mode?
The term scale and mode are used interchangeably and in a strict theory sense there is a big difference between a scale and a mode or modal scale. They are NOT the same, even if they are the same notes. A scale and mode can contain exactly the same notes. UL110: Published: January 2, 2005, 12:00 pm | Updated: April 19, 2013, 1:20 pm | Author: Curt Sheller | |||
Whole Tone Scale for Ukulele - C Tuning
The Whole Tone scale is a symmetrical scale with an equal distance been each note or scale degree. UL25: Published: January 2, 2005, 12:00 pm | Updated: April 30, 2013, 10:54 am | Author: Curt Sheller | |||
Lesson Info
I constantly read online and hear. "Is, where, what site, what software is there for this or that chord or all the chord voicings." Well camper! It's not here. Chord dictionaries, software, web sites are not the answer. Even chord theory does not offer any insight into unraveling the complexity of chord voicings.
Learning basic open position chords and the basic movable form chords presented in the Chord of the Week Lessons I presented in 2007 will set you up for the more advanced chords, typically called “jazz” chords.
These Movable Form Chords lessons have been updated, enhanced and now reside in the Members Subscription area for all basic and Members.
Related Books
Harmonic Analysis for Scale Selection and Chord Substitution
Harmonic Analysis is the understanding of the functional sequence of chords. It is the process used to analyze the harmonic structure of a progression, song or composition. This analysis is then used to make scale selections for improvisation and chord substitution.
More info, samples, table of contents, audio, video and more...
ISBN-13: 978-0-9714044-2-7 Published: January 2003 Pages 90
PDF/eBook
Printable PDF
$4.95
NOW - With quick download after payment.
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Daily Practice Material for the Contemporary Musician
Scales, intervals and sequences for daily practice for musicians.
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