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EAR TRAINING EXPLAINED

HOW TO PLAY MUSIC BY EAR

by Julian Bradley


WHAT DOES ‘TRANSCRIBE’ MEAN?
BEFORE WE BEGIN Throughout this book I use the word ‘transcribe’ often.
‘Transcribe’ means to identify notes and chords by ear.
PERFECT PITCH VS RELATIVE PITCH Whether you end up playing those notes at your
There are 2 ways to play music by ear - perfect pitch and instrument, or whether you just do the brain work and
relative pitch. Perfect pitch is the ability to recognize keep it to yourself - the process is called ‘transcribing’.
specific note frequencies - memorizing the sound of C, RECOMMENDED LISTENING
C#, D, etc. Few people have perfect pitch - you either It’s important to practice transcribing on the right level of
have it or you don’t, and generally speaking, you can’t music. For this reason, I’ve listed appropriate level songs
learn it. I do not have perfect pitch. throughout this book as ‘recommended listening’. These
Relative pitch however can be learnt by anyone, and is songs span a range of styles and tastes, but all make
taught at most universities / music colleges. In this book I perfect transcribing practice and feature the concepts
teach relative pitch. Relative pitch works by memorizing covered in this book. When a song title is underlined,
the sound of notes and chords within the context of the the text is a clickable link which will take you to the
key - the sound of the root, 2nd, 3rd, the I chord, the V band’s official video on youtube.
chord, and so on - all of which sound the same in every
GOOD SPEAKERS
key. But at the end of the day, you don’t know which key
It’s important to listen to music on good speakers which
the music is actually in - which is rarely of importance
allow you to hear the bass clearly. Since hearing the
anyway. The nice thing about learning relative pitch is that
bassline is essential to transcribing a song, avoid listening
you learn the rules of music at the same time - whereas
to music on laptop speakers, which cut out the bass and
perfect pitch doesn’t do that, it just hands you the answer
makes things unnecessarily difficult. Listen through proper
on a plate.
speakers or headphones instead.

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PA R t o n e COMING UP:
3 pillars of ear training
ear training fixed key learning

staying within the key


fundamentals think in terms of “key”

Practice doesn’t make perfect - perfect practice listen / think / check


makes perfect. The biggest difference between those summary
who succeed at ear training and those who don’t, is
whether or not they practice ear training the right
way. There are many practice techniques which are
not only ineffective, but are actually counterproductive
and prevent your ear from developing, despite
seeming like a good idea. So in this section I layout
the most important fundamentals to practicing ear
training - this is the most essential information in this
book.

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THE 3 PILLARS
of ear training
How does playing music by ear work? There are 3 aspects
involved: 3. Interval recognition. Once you’ve identified a

1. Knowledge of Scale. Before listening to anything, familiar note or chord by ear, the final step is to track
you must memorize and understand the 7 note scale that where the music moves from then on, by listening to the
nearly all western music is written in. This means learning intervals it moves by - up a step - down a 3rd - up a 4th -
and so on:
the notes and chords which exist within the key like the
back of your hand - which chords are major, which are
minor, where the half-steps occur, and so on. This is 2/3rds
of the work, and attempting to transcribe music by ear
without studying the terrain beforehand is useless.
2. Note / Chord recognition. Learn to recognize a
few notes and a few chords by ear - hearing one of these
tells you where within the scale the music is. You don’t And that’s the gist of transcribing music by ear - 3 skills
have to learn all notes and chords by ear - in fact you only used in combination. In this book I cover each fully and
need to accurately identify one note or chord to pin point show you effective practice methods to master each.
your location within the scale:

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- nearly all are built using the same few notes and chords -

FIXED KEY LEARNING the one thing changing is usually the key signature.

Key is not important - the only reason we have multiple


If you take just one thing from this book, remember this: keys is so a composer can find the best fit for their music
and the performers’ ranges - if the singer can’t make the
The fastest way to master relative pitch is to restrict your
top note, they’ll transpose it down a few keys. If the bass
playing to one key, for a sustained period of time. Every
sounds too muddy, they’ll transpose it up a few keys - but
new concept you learn about, apply it to that one key.
that’s it. A piece of music sounds the same whichever key
Every composition you write, write it in that key. Every
you play it in - 12 keys just means 12 different ways to say
song you listen to, listen to it as though it’s in that key, and
the same thing. Changing key regularly only distracts you
learn to play it in that key - not the key of the original.
from seeing what’s actually important.
The biggest obstacle preventing most musicians from
developing relative pitch, is that they continually change 2 BENEFITS
Restricting your playing to one key has 2 main benefits:
key - they’ll practice one song in one key, then another
song in a new key, and so on - and they’re even taught that 1. It eliminates the visual distractions encountered as you
this is a good thing to practice. But attempting to learn 12 change keys - no longer are you bombarded with every
keys early on just leaves them equally unaware in 12 keys note and chord under the sun - F F# Gb etc:
rather than mastering one.

Only when you line up every piece of music into the same
key, do you see that 95% of music is written using just 7
notes and 6 chords. Whether it’s a pop song, a country
2. Notes and chords sound the same every time you play
song, a tv commercial, or a Hans Zimmer film soundtrack
them. An essential part of playing by ear is learning the

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unique sounds of notes and chords within the context of these sounds in one key, then you’ll be able to notice
the key - the unique sound of the root, the 2nd, the 3rd, them in every other key - but first you must learn them in
the V chord, the vi chord, etc. All the time you spend one key.
playing in one key, the memories of these sounds builds up
I call this accelerated learning method ‘Fixed Key Learning’
- C sounds like the root every time, D sounds like the 2nd
- restricting my own playing to one key is what lead to my
every time - but as soon as you change to a new song in a
own accelerated ear development, and I’ve noticed the
new key, each note takes on a whole new sound within
same results in my students - the ones who tell me they
the new context - C now sounds like the 5th, D now
play and think mostly in one key have far superior relative
sounds like the 6th, and all the memories that had been
pitch than those who play in all keys.
building up are quickly smudged away, and replaced with
new ones. But your brain doesn’t know which ones to Prioritize training your ear first, because ear training is
trust, so ultimately each note ends up being a muddy mix king. Once you’ve made progress in ear training, it’s a
of memories - none of which stick: much simpler task to become fluent playing in other keys,
which can be learnt in a matter of weeks.

Only by restricting playing to one key do you give yourself


a chance to ingrain these sounds - your memory of each
note and chord grows stronger every time you play, and
it’s impossible to backpedal. Once you’ve truly ingrained

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STAYING WITHIN THE KEY

First we must choose a key to stick to. There are 12 keys


which exist, and each key represents a major scale and a
And if I’m discussing the minor scale, or a minor song, I’ll
minor scale - these are called ‘relative’ major and minor
demonstrate through A minor scale:
scales - both scales use the same group of notes, but start
from different points (to be discussed in the next
chapter).

Throughout this course I will use the key of C major /


A minor to demonstrate all concepts (the white notes
on the piano):
All major and all minor music can be played within the
same 7 notes of the key.

STAYING WITHIN THE KEY


How do you keep your playing within this key? Simple -
make sure you only play notes from the scale (in this
case, the white notes). The melody must stay within these
If I’m discussing the major scale, or a major song, I’ll
7 notes. The bassline must stay within these 7 notes. And
demonstrate through C major scale:
the chords must be built entirely from these 7 notes:

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So I’ll cross the first answer off my list, and come up with
a new theory. In our key of C major / A minor, the correct
answer actually looks like this:

If you play a note outside these (a black note) then you’ve So in my first answer I had the wrong starting note - the
changed key. If you’re transcribing a song by ear and its Bridal March melody actually starts on G, not C. When
melody seems to come out of the white notes, even for a played starting from G, it stays within the 7 notes of C
single note (a Bb, or an F# for example) then your answer major / A minor.
is wrong - the melody is somewhere else in the scale and
you’ll need to come up with a new theory - one which fits
within the notes of C major / A minor.
For example, say that I’m transcribing the ‘Bridal March’
melody (‘here comes the bride’), and I come up with this:

This answer is wrong because it comes out of scale for


the Bb.

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MAJOR & MINOR ARE IRRELEVANT
THINK IN TERMS OF KEY
You might think that the first step when transcribing a
song would be to determine whether the music is major And the 7 chords found in the major scale are the same 7
or minor - but this is rarely necessary. Rather than chords found in the relative minor scale:
thinking narrowly in terms of ‘major’ or ‘minor’ it’s better
to see the bigger picture and think in terms of ‘key’. ‘Key’
refers to the 7 note scale that 95% of western music is
written in. Within these 7 notes both the major scale and
the minor scale exist - but the word ‘key’ refers to the 7
notes from a neutral perspective - it’s neither major or
minor.
This is why you can transcribe every major song and
C major scale and A minor scale are both made
every minor song within the same key - the major
from the same notes, and are called ‘relative’ major and
sections are in C major, the minor sections are in A
minor scales. The only difference between them is their
minor. Otherwise we’d need 2 separate keys - one for
starting notes - C major starts from C, A minor starts
major songs and another for minor songs.
from A:
MAJOR / MINOR = IRRELEVANT
Only a very small proportion of songs (2%) stay sounding
major throughout - think of nursery rhymes like ‘Mary
Had a Little Lamb’ or ‘Jingle Bells. Listen to these as

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though they’re in C major, and think of the 7 notes When the music is sounding major, I treat C as the root
starting from C. of the scale, and visualize all notes starting from C. And
when the music is sounding minor, I treat A as the root of
And an equally small proportion of songs sound
the scale, and visualize all notes starting from A. And I
exclusively minor - think of songs like Dave Brubeck’s
slide back and forth between these 2 perspectives
‘Take 5’ (the A section), ‘Cry Me A River’, or any rap song
continually:
which sustains a minor chord throughout. Listen to these
as though they’re in A minor, and think of the 7 notes
starting from A.

But the norm these days (90%+ of music) is to write


music in a grey area between major and relative minor. It
sways back and forth between sounding major, and then
sounding relative minor - every 2 or 3 chords the music
So instead of thinking rigidly and narrowly of a song as
changes its mood - C major - A minor - C major - A
‘major’ or ‘minor’, think like this:
minor. Listen to any mainstream radio station to hear this
swaying effect in action: ‘The song is in the key of C major / A minor - there’ll be
C major moments, and there’ll be A minor moments -
either way, it’s the same notes and chords’:

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INCREASED AWARENESS NUMBERING FROM BOTH PERSPECTIVES
Relative major and minor scales are always the same Within our key of C major / A minor, each of the 7 notes
distance apart, for all 12 keys - the relative minor scale can be numbered from either scale’s perspective - you
can always be found starting a minor 3rd below the major could number C D E as the root, 2nd, 3rd of C major
scale. I’m always aware of a major scale’s relative minor scale. But those are the same exact notes as the 3rd, 4th,
scale, and a minor scale’s relative major scale. If someone 5th of A minor scale:
says ‘C major’ - the first thing I think is ‘C major / A
minor’. If someone says ‘F major’ - I think ‘F major / D
minor’, and the same for all 12 keys. I can’t think of one
without the other - both are the same thing:

Understanding that major and minor scales are the same


7 notes simplifies things from an ear training perspective -
it means we only have to learn the sound of 7 notes - and
not 2 separate 7 note scales. So don’t get bogged down
with whether a song is major or minor - see the bigger
picture and think in terms of the key - C major / A minor.

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RECOMMENDED LISTENING
observe the swaying major / minor effect:
what a wonderful world louis armstrong

pure imagination jamie cullum

infra 5 max richter

Try Pink

the a team ed sheeran

under the bridge red hot chili peppers

Halo Beyonce

How To Save A Life The Fray

Broken Wings Mr. Mister

With Or Without You U2

time after time eva cassidy version

I Want To Know What Love Is Foreigner

click on song to listen

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answer - ‘right’ or ‘wrong’ - which prevents their brain
LISTEN / THINK / CHECK from having to work or improve - the same way that
relying on a calculator prevents you from improving your
arithmetic.
The most important concept in this book is to restrict
your playing / thinking to one key. The 2nd most LISTEN / THINK / CHECK
important concept is to practice ear training the right This is how to practice transcribing music by ear:
way:

Ear training is practiced predominantly AWAY from your listen Think Check

instrument - DO NOT attempt to play songs by ear


Listen to the song as many times as you need, and listen
sitting at your instrument. Again - DO NOT attempt to
to it as though it’s in your fixed key (C major / A minor).
play songs by ear sitting at your instrument.
Think long and hard about each note and chord using
Many people think they can ‘play by ear’ because they sit
the techniques covered in this book. Do some thinking
at their instrument and use trial and error to find the
while the music plays, and some thinking in silence. All the
notes that match the recording. But this is not what
time you’re thinking, you’re improving - so don’t rush this
‘playing by ear’ means, and despite seeming like a good
stage.
idea, is just another counter-productive practice technique
which actually prevents you from improving. Check. The final and least important step is to check
your answer, by playing it at your instrument. Don’t check
Ear training is actually brain training - it has little to do
your answer until you’ve mapped out your complete
with your ear. Transcribing a song by ear is a lot of brain
performance in your head.
work, and feels like solving a puzzle. Someone who
transcribes songs at their instrument is preventing their Of course you’ve been thinking of the music as though it’s
brain from learning - the instrument gives them an instant in your fixed key, which will probably be different to the

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recording - but just play your answer and your ear will
adjust to the new key within a few notes.

The goal is to think like this every time you hear music -
not just when you sit down to practice ear training. Every
time you hear music, start dissecting every note and
chord as you hear it. When listening to the radio, when
you’re at a coffee shop or restaurant, when you’re
watching a film, when a car drives by playing music, when
someone’s ringtone goes off - your brain kicks into
‘transcribe mode’ every time.

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MAJOR & MINOR ARE IRRELEVANT
PART I SUMMARY Determining whether a song is major or minor is rarely
necessary. Most music sways back and forth between
fundamentals sounding major and sounding relative minor, every 2 - 3
chords - C major - A minor - C major - A minor. So
FIXED KEY LEARNING instead of thinking narrowly of a song as ‘major’ or
The fastest way to develop relative pitch is to restrict ‘minor’, see the bigger picture and think in terms of key -
your playing to one key, for a sustained period of time. ‘C major / A minor’ - a song in C major will probably
Doing so reduces the amount of visual distraction spend just as much time sounding like it’s in A minor -
encountered when switching keys. It also ingrains the both share the exact same notes and chords.
sound of each note and chord, which sound the same
LISTEN / THINK / CHECK
every time you play them within that key. Once these
Avoid transcribing songs using your instrument - doing so
memories have built up, you’ll be able to notice these
has no long term benefit for your brain and only prevents
same sounds in every other key - but first you must learn
your ear from developing. Instead, practice transcribing
them in one key.
songs away from your instrument using a 3 step process:
Throughout this book, I teach all concepts within the key
Listen - listen to the music as many times as you need.
of C major / A minor. Live, breathe, think, compose, play,
and transcribe all music in this key, at least for the Think - use the techniques in this book to dissect every
duration of this book. When transcribing music by ear, note and chord.
make sure every note and every chord is built entirely of Check - check your final answer by playing it at your
the white notes. Anytime you play a black note you know instrument.
you’ve broken out of key and need to test a new answer.

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PA R t t h r e e COMING UP:
6 PRIORITY INTERVALS

interval learn intervals by singing them

THE STEPPING STONE METHOD


recognition summary

Once you’ve identified a note in the melody, you’ve


done the hard part. Now you know where within the
scale the melody is, and the next part is relatively
easy - you just need to keep track of where the
melody moves from then on, by listening to the
intervals it moves by:

In this section I show you how to identify intervals by


ear.

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then you can learn the sound of all 12 intervals. However,
THE 6 PRIORITY INTERVALS half of these intervals are rarely used - how often does a
melody jump by a 7th, or a 6th? In fact it’s rare to hear a
melody jump beyond a 5th in a single leap.
When a melody moves from one note to the next, an
interval is created between those 2 notes. ‘Interval’ refers The tritone is also rarely used, since it’s hard to sing and
to the distance between 2 notes - it’s a way of measuring sounds creepy.
the size of any gap. If you know at least one melody note Crossing these off the list leaves us with just 6 intervals -
(using techniques from the previous section), then you can
most melodies are built entirely from these which I refer
identify all other melody notes by tracking the intervals
to as the ‘6 priority intervals’, because they’re the priority
that note moves by: to learn by ear:

PRIORITY INTERVALS
Within the octave there are 12 intervals which exist: When transcribing melodies by ear, most of the time
you’ll be choosing between these 6. And in the rare
instance that a melody jumps by one of the non-priority
intervals, it’s possible to identify the leap using the 6
priority intervals, added together in various combinations
Each has its own size and sound, and can be learnt and - to be discussed soon.
recognized by ear. If you enjoy the challenge (like I do)

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DESCENDING INTERVALS
What about descending intervals? Don’t we need to learn
each interval ascending and descending? No. Many
musicians go through the trouble of trying to learn
intervals ascending and descending - but the truth is you
never have to identify a descending interval by ear, if you
don’t want to. When you hear the melody descend by a
leap, just sing the 2 notes repeatedly and think of them
backwards, in reverse order - bottom note - top note.
Then measure the interval as an ascending interval:

So to transcribe music by ear, you only have to learn the 6


priority intervals ascending - that’s it.

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Learning intervals this way is called ‘musical association’ -
LEARN INTERVALS BY simply associate each interval with a famous melody that
SINGING THEM features that interval in its first 2 notes:

Learn the sound of intervals by singing them - nothing i n t e r va l musical reference

else. By the time you can sing an interval, you’ve learnt it. Half-step Jaws theme
Humming and whistling are just as good. In this chapter I
Whole-step Happy Birthday
show you a range of singing exercises, varying in difficulty,
designed to ingrain the sound of intervals and make Minor 3rd Greensleeves
intervals fun and creative. Major 3rd Kumbaya

EXERCISE 1: MUSICAL ASSOCIATION 4th The Bridal March


The good news is that your brain already knows the 5th Twinkle Twinkle Little Star
sound of all 6 priority intervals - it’s been listening to
them every day of your life, every time you play or listen
Away from your instrument, choose one of the 6 priority
to music. For example, if you can sing the first 2 notes of
intervals to work on - e.g. the 4th. Recall the appropriate
Twinkle Twinkle Little Star, then your brain already knows
reference song for that interval (Bridal March). Sing both
the 5th. If you can sing the first 2 notes of the Bridal
notes repeatedly, bottom note - top note:
March (‘Here Comes The Bride’), then your brain already
knows the sound of the 4th. The only thing that might be
missing is the correct label to remember it by.

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Focus on the size and sound of the interval, and forget
about the reference song that you used to find the notes -
the goal is to learn intervals without relying on the
musical references all the time.

EXERCISE 2: HALF-STEPS / WHOLE-STEPS Once you can sing this scale, you’ve well and truly learnt
Of the 6 priority intervals, the half-step and whole-step the half-step and whole-step.
are the most important - most melodies move by step
SIGHT-SINGING
more than any other interval. Ingrain the half-step /
My favorite exercise of all is ‘sight-singing’:
whole-step by singing your favorite exotic scales:
Play a starting note on your instrument, C for example.

Now assign yourself a series of intervals to sing - ‘up a


major 3rd’, ‘down a half-step,’ ‘up a 5th’ - and so on:

Keep track of which notes you should be singing, and


finally check your answer by playing your intended end
note (Bb) at your instrument to see if you stayed
And nothing ingrains the half-step / whole-step more than
accurate.
singing the diminished scale, which is built of an
alternating half-step / whole-step pattern:

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Sight-singing is the one exercise in this book where I
encourage you to come out of key, and actually works
best if you travel freely through all 12 chromatic notes at
random. The trick when doing this is to focus on one
interval at a time. You must completely forget about the
past, as any previous notes lingering on in your memory
will distract you from the interval at hand:

Be creative - you can make sight-singing as easy or as


Sight-singing can also be practiced away from your challenging as you like. For example, you could sing
instrument - while walking, doing the dishes, or in the arpeggiated chord progressions (breaking each chord into
shower. Of course you can’t check your answer at your individual notes). Here’s how I would sing a ii - V - I chord
instrument, but you tend to know whether you’re right or progression in C major, by arpeggiating each chord:
wrong. Here are some sample sight-singing melodies to
get you started:

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And here’s a melody you could sing to ingrain the 6
priority intervals:

As a composer, I compose mostly away from my


instrument. I’ll find myself humming something, and will
start to question what I’m actually singing. So there’s a fine
line between sight-singing and composing - the 2 are very
similar.

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intervals is the easiest part, and feels intuitive - you don’t
THE STEPPING-STONE have to give much thought to it.

method However, there will be times when you need to identify an


interval with 100% precision - for example, when you’re
not certain which notes are being played, you’re still
RELAXED PRECISION
testing out theories, and can’t do the intuitive relaxed
When tracking a melody’s movement, you do not have to
interval tracking. Or if a melody breaks out of the 7 note
identify every single interval with 100% precision - that
key and does something more complex, you’ll need to
would be a ton of work and would take all enjoyment out
identify where it went by measuring the size of the leap
of transcribing music by ear. The truth is that once you’ve
with 100% precision. Typically, I might have to identify 1 - 2
identified where the melody is within the scale, you can
intervals in an entire song with 100% precision. And when
identify intervals with ‘relaxed precision’. You’re just
I need to do that, this what I do:
following it as it moves about through the 7 notes -
running up and down the scale mostly with a few small BRIDGING THE GAP
leaps. Say that you hear a tension note resolve down a If I need extra help identifying an interval in a melody with
half-step, which can only be F - E - this tells you where 100% precision, I’ll use what I call the ‘stepping-stone
the melody is within the scale. Now when E moves up a method’:
3rd, you know it’s moved to G - you don’t have to get
Sing back the 2 notes you’re working on a few times, then
bogged down with whether it moved by a major 3rd or a
bridge the gap between those notes by adding a note in-
minor 3rd - your knowledge of scale tells you that E - G
between, breaking the interval in 2. Measure these 2
= minor 3rd. Or when G moves up a step, you know it’s
smaller intervals separately, and then add them together
moved to A - you don’t have to get bogged down with
to workout the complete interval.
whether it moved by a whole-step or a half-step. So when
you know where the melody is within the scale, tracking

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For example, say you want to identify the interval in the Or say that you want to identify the interval in ‘Riders On
first 3 notes of Gershwin’s ‘Summertime’ with 100% The Storm’ by the Doors with 100% precision:
precision:

Sing back both notes repeatedly - ‘Riders On The - Riders


Sing back both notes repeatedly - ‘Su - mmer - Su - mmer On The - Riders On The’. It sounds like some sort of 3rd,
- Su - mmer’. Now place a note in-between those notes - but to distinguish whether it’s a major 3rd or a minor
try singing up a whole-step from the bottom note. From 3rd, we can use a stepping-stone. Again, lets sing up a
that middle note you’ll find you only have to sing up whole-step from the bottom note, and see how much
another whole-step to reach the top note: further we need to go to reach the top note:

Whole-step + Whole-step = Major 3rd Whole-step + half-step = Minor 3rd

FINDING THE 5 TH
I’ll often double-check a 5th (to make sure it’s not a 4th,
which sounds similar), by singing up a major or minor
chord - both add up to a 5th:

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up the scale in step, adding up the whole-steps and half-
steps to find the complete interval.

For example, in Louis Armstrong’s ‘What A


Wonderful World’ (click to listen), each verse starts
with a pretty big leap - “I see Trees - of - Green”, “Skies of Whole-step + Whole-step + Half-step = 4th
Blue”, etc. It sounds like a 5th but to double-check, I’ll
And since most melodies never jump beyond a 5th in a
see if I can sing up a major triad from bottom note - top
single leap, you’ll probably only have to sing 2 or 3 notes
note, to be sure:
in step.

QUESTIONS
Look at the following stepping-stone combinations and
workout the complete interval for each:

! 1. minor 3rd + major 3rd


CHOOSING YOUR PATH
Of course the stepping-stone method requires you to ! 2. 5th - half-step
know some intervals first for it to work, but the beauty is ! 3. whole-step + minor 3rd
you get to choose your path, so you can stick to intervals
you’re confident with. Say for example you only knew the ! 4. octave - half-step

whole-step and half-step - well you could resort to singing ! 5. major 3rd + minor 3rd + whole-step

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ANSWERS:
! 1. 5th

! 2. tritone (b5th / #4th)

! 3. 4th

! 4. major 7th

! 5. major 6th

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COUNTRY SONGS JAZZ
highway don’t care tim mcgraw summertime george Gershwin (melody)

crash my party luke bryan in the mood glenn miller

sure be cool if you did blake shelton pure imagination jamie cullum

somewhere with you kenny chesney don’t stop the music jamie cullum

rewind rascal flatts save your soul jamie cullum

cop car keith urban what a wonderful world louis armstrong

whatever she’s got david nail cantaloupe island herbie hancock

CLASSICAL
canon in d pachelbel
four seasons recomposed max richter

infra 5 max richter

the nature of daylight max richter

yearning mark bradshaw

www .E A R T R A I N I N G E X P L A I N E D . com 67
ROCK SONGS 60’S 70’S 80’S SONGS
miss you rolling stones Money Pink Floyd

When You Were Young The Killers learning to fly Pink Floyd

heaven Bryan Adams rhiannon fleetwood mac

Every Breath You Take The Police Lean On Me Bill Withers

Wonderwall Oasis Ain’t No Sunshine Bill Withers

Brave New World Iron Maiden In The Air Tonight Phil Collins

I Want To Break Free Queen Another Day In Paradise Phil Collins

Beautiful Day U2 Broken Wings Mr Mister

I Still Haven’t Found What I’m Looking For U2 out of touch hall & oates

don’t stop believing journey miracle of love eurythmics

maria blondie Let it Be The Beatles

Hey Jude The Beatles

band on the run paul mccartney

Into The Mystic Van Morrison

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GUITAR BASED SONGS R’N’B SONGS
Save Tonight Eagle-Eye Cherry My Love Is Your Love Whitney Houston
fields of gold sting version It’s Not Right But It’s Okay Whitney Houston

Breakeven The Script u remind me Usher


chasing cars snow patrol Confessions Part II Usher
hurt johnny cash Halo Beyonce
little lion man mumford & sons
Bartender T-Pain
Time After Time (Eva Cassidy version)
Rock Your Body Justin Timberlake
The A Team Ed Sheeren

Lego House ed sheeren

I Ain’t Missing You John Waite

Let Her Go Passenger

fly away lenny kravitz

Everything Lifehouse

Fast Car Tracy Chapman

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DANCE SONGS POP SONGS
days go by dirty vegas The power of goodbye madonna

say something a great big world


Sun & Moon Above & Beyond
pumped up kicks foster the people
on a good day Above & Beyond
Try Pink
Can’t Sleep Above & Beyond
Electric Feel MGMT
Deepest Blue Deepest Blue
speed of sound coldplay
Ecstasy ATB
Talk coldplay

The Scientist Coldplay

Love Somebody Maroon 5

Dancing On My Own Robyn

Be Mine Robyn

handle me Robyn

eyes without a face billy idol

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