Ear Training for the Curious Guitarist | Dan Dresnok | Skillshare

Ear Training for the Curious Guitarist

Dan Dresnok, Guitar Teacher

Ear Training for the Curious Guitarist

Dan Dresnok, Guitar Teacher

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13 Lessons (2h 39m)
    • 1. Preview

      4:30
    • 2. Welcome to the Class

      11:08
    • 3. The Chromatic Scale (page 2)

      12:43
    • 4. The Major Scale (page 3)

      15:08
    • 5. Intervals (page 4-5)

      22:01
    • 6. Major Scale Intervals (page 6)

      15:44
    • 7. The 5 Non-Scale Intervals (page 7-8)

      16:48
    • 8. Rules of the Pitch Game (page 9)

      8:47
    • 9. Playing the Pitch Game 1 (page 10)

      7:11
    • 10. Playing the Pitch Game 2 (page 11)

      12:45
    • 11. Sing to the Pitch (page 12)

      8:15
    • 12. Pitch Associations (page 13-14)

      15:04
    • 13. Going Forward (page 15)

      9:13
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About This Class

Complete ear training & pitch recognition class for guitar. Identify every interval & know all the pitches by ear.  All levels.

*Be sure to download the PDF in the Projects & Resources section.  (It's called "Ear Training for the Curious Guitarist -  PDF.")  It's 16 pages long & contains all the tabs & text lessons that you'll need for this class.  (If you have issues downloading it from your mobile device, then download it from a computer or laptop.)  Don't wait - get it now!

Welcome to Ear Training for the Curious Guitarist.  This complete ear training class will teach you how to identify any relative note, interval, or pitch.  Ear training is an extremely valuable skill that's taught in every university-level music program, and is now available for you in this class

We'll use relative pitch ear training to hear & play music without actually seeing our guitar - only hearing it.  This is a skill that every musician can easily learn and every pro guitarist uses regularly.

Any kind of six string guitar will work well for this class - electric, acoustic, or classical.

The title of each lesson video will include the page number of the attached PDF (downloadable in the Projects & Resources section) to reference while going through this class. This includes the guitar tabs and ear training text lessons.  Be sure to get the PDF.

This class has only one section:  Ear Training.  We'll begin with refresher lessons of the chromatic & major scales as well as intervals, leading us to the pitch recognition game.  I'll play this game a few times, explaining as we go, and continue on to give you all the tools & associations to help you identify all 12 pitches by ear for every key.

This class is designed for complete beginners as well as advanced musicians.  Every guitarist & musician should learn & master this skill.

 

Class Requirements:

  • This class is for everyone - including complete beginners.
  • You only need a guitar - any kind of guitar with six strings.
  • We'll start at the very beginning.

 

Who this class is for:

  • Every guitarist should take this class.
  • Guitarists who want to learn pitch recognition & relative pitch.
  • Guitarists who want to improve their ear training & musical hearing.
  • Beginner, intermediate, & advanced guitarists & musicians.

 

What you'll learn:

  • Learn 100% of relative pitch.
  • Identify all 12 pitches by ear.
  • Learn to use intervals.
  • Play ear training games.
  • Learn pitch association techniques.
  • Refresh your chromatic & major scale knowledge.
  • Know how it will sound before you play it.
  • Hear music with new ears.

 This class is easy, fun, and exceptionally important for your musical development.  Let's get started.

Meet Your Teacher

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Dan Dresnok

Guitar Teacher

Teacher

Hi, I'm Dan Dresnok - I’m your guitar teacher. I've been teaching guitar lessons for over 28 years and I've taught over 35,000 students both online & in-person. I want you to know everything that I know about guitar & music. 

I’ve worked as a session guitarist for recording studios, performed countless times, & moderated over 100 group guitar clinics. I’ve written several guitar method books & created over a dozen online guitar courses.

I specialize in jazz, bluegrass, blues, rock, music & guitar theory.

See full profile

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Transcripts

1. Preview: Hi, and welcome to ear training for the curious guitarist. I'm Dan Resnick on your guitar teacher. I've been teaching guitar lessons for over 25 years. I've written a number of guitar method books, and I've created well over a dozen on my guitar courses. I am the perfect person to teach you how to get started with your ear training in how to develop your relative pitch recognition skills. A lot of musicians don't really understand when you're training is or what relative pitch is. So it is your ability to hear something they've never heard before and to build a say. Okay, I can see the intervals of those two things. So for example, if I heard a couple of notes, I can say, I don't know what the key is, but I do know that it's this distance part. So in music, we don't really have to struggle so much with not knowing the key. It's pretty obvious. A lot of times you're going to know the key, but you know, you can easily quickly figure out what the key is to any song. After you know the key, then you just listen and you start hearing all the intervals. And if you know the key and you have relative pitch, then you can hear all of the notes and you'll know them. You won't even need to test them because you'll just know right away what all the notes are. So in your training, you've got two categories. You've got perfect pitch. This is what people talk about all the time. Perfect pitch. And this is perfect pitch is very highly debatable as to whether or not it's even a learnable skill. So we're not doing perfect pitch in this course. People say that there are one in a million people born with perfect pitch. It means that you can hear anything. You can hear the bird and say, oh, that birds singing in a flat and my toilet flushes, that's an F sharp in my freezer homes at a C sharp is perfect pitch. And it's not really, it's not really a valuable tool to a musician. It's kind of a cool, definitely a cool thing, but it's not something that a musician needs. That's perfect pitch, also called absolute pitch. Then there is relative pitch. In relative pitch is going to tell you we're in the key of a, that's the a. Then after that, we are going to play a bunch of other nodes. So you've got the key of a. And then after that, we're going to play bunch of does. So you've got the IE nodes and you've got to, you've got you've got to dynodes and you've got, you've got the G notes. So this is what we call relative pitch. And it's your ability to not even look and you could just hear it. You can actually hear it and know what it is faster than if you look at it and count up to see what the note is. That's relative pitch. And you could do it blindfolded, okay? And that's what we're going to do by the end of this course is you would be able to be blindfolded. And I could do those notes and you can tell me exactly what they are. Most of the, most of the video lessons are going to include a downloadable PDF. So this is going to be extra guitar lessons or texts, stuff that you're going to need. I put them together for you, so be sure to download them, print them out, get them, get PDFs. So anyway, this is really exciting. I'm glad you're here. This is such a cool skill. It's almost like a superpower, Sika musical superpower. So this is going to be really cool. This is going to change your whole trajectory of how you play and listen to music. So pretty exciting for you. All right, I'll see you in the next video. 2. Welcome to the Class: Hi and welcome once again to your training for the curious guitarist. I'm Dan Dress. Nick. I am your guitar teacher. I wanted to take a few minutes to talk about what to expect going through the course. Um, so we talked about what the course is about. Hands. What's really interesting about your training is the it doesn't really require you to know that much music theory. Um, there is a little bit that I need, you know, but it's just a very little bit. Okay, so your training is really your ability to turn your gear on, okay? And I know that you already think it's on. Everyone always thinks that it's already on, but we're going to turn it on in a way that has never really been turned on before. Okay, we're going to start. You've been hearing music your whole life, but we're going to start giving everything of name now. Things didn't all have names before. We're going to change that. We're gonna give everything every sound and name. Okay? That's really what your training this is about naming all of these things that you've heard your entire life. You know what they sound like we just need to learn how to name them. And so part of naming them is just a time, a little bit of music theory. I'm really talking about intervals. Where have we have to learn intervals? It's really helpful if we know the notes are chromatic note names. So, like if we confined our chromatic note names on every string, so we're gonna go through some of these basics, just the very basics. Basics. If we confined our no names on the strings, that's really helpful. That helps us to learn intervals so that intervals makes sense to us when we can then start learning about intervals on, there's only 12 so explaining Teoh, I'll show you exactly how they work and intervals air, just like instead of saying you know you have, Here's an a note. Um, it's not saying that this is a note because it is. It's just in the NATO. An interval is a point A to point B. It's a distance. So you have secured to here has appointed a point beats to Fred support. So that's like a major second. And so this is a major second right, and that would be a sound. Also, major second is also a sound. This is the kind of thing that, if we know a major second that we could start hearing major seconds if I'm no major. Second is to friends. I construct practicing, listening to it listen to the sound of two frets support, and I know it's called a major second. The fact that I don't know what the note names are is not really important because, like we said, it's going to be all about uh, no one's keeping the key a secret from you, right? You're always wanted him with the key. If you don't know the key to say if you're listening to the radio, you know that's pretty easy enough to figure out what the key of the song is. But then, once you know the key, you're here. Trading is going to help you fill in all the other blacks. You literally could figure out the key and then just get a piece of paper and just start writing down. The court changes and the melodies without urine stretches from curing. A lot of people were going to feel like they want to have their instruments and double check themselves in the beginning, you can. That's fine. That's absolutely fine. But you're going to start trusting yourself more and more as you get better this and you're going to realize that you don't need to check yourself that you are correct and you're going to start hearing music in your head. Okay, this is such a cool thing. This is almost like I said before. It's almost like it's a superpower. It's like a musical superpower. It's like a party trick. You can really impress your friends and other musicians that haven't developed their relative pitch yet. Anyone that hasn't developed relative pitch yet is going to be jealous of your skills, because this is really such a cool thing and useful as a musician. Well, the school from one more time the difference between perfect pitch and relative pitch guy so perfect bitch otherwise called absolute pitch. This is what everyone talks about, although it's just it's not true. It's very rare, for people have perfect pitch is very rare. Okay, perfect pitch means that you can hear a bird sing and you can know exactly what the pitches with the notes are perfect pitch says that I can hear a song on the radio and just know immediately what the key is. Okay, I don't have perfect pitch. I don't have absolute picture. Perfect pitch. I don't have it, OK, they say one out of a 1,000,000 people has I'm not one of the one of millet. I don't have it. But I do have relative pitch and relative pitch means that if I know where the key is, then I can tell you all the other nuts and I could tell you all the other courts. I don't even really need to know what the key is. I could say it's in the key aspects and I could tell you what the intervals are. And then all you do is tell me what the key is. I can fill men like until I take all the courts and intervals that I know and just put him in with any t you tell me to. Doesn't matter what kiis And so this is what professional musicians used all the time is a combination of like intervals ends the relative pitch training to say OK, why? I hear that I could put in keep C a D A. Put in the key of G give a give the flying doesn't matter really makes no difference there just These are the sequences of all the courts and the changes, so that is relative pitch, and it really is a huge here skill. So the way they were to learn that is, like I said, we're going to start off by chromatic look dramatic names all over guitar, and then we're going to learn the, um the interval games Tolliver, our guitar and how to find these intervals and what the naming of the intervals is going to be. Then after that, we're going to start going through some of our main interval lessons, and we're going to start associating with things like the major scale or the court. So the arpeggios major triad ends the major scale, and then we're going to work up until we've got actually all 12 of our intervals in our you're okay when we've got all of our intervals to where we can share them, we're going to do is start playing what I call the pitch game. And so we play the game. We are going to randomly start playing intervals are Matar and naming them without looking and seeing how many we could get. Right. See if we get 20 in a row, Correct. Um and we're gonna play the game basically until we're able to get 20 and road. Correct. And then after that, um, you will have completed the first level off your relative pitch your training, and we kind of could see where we're going from there is to kind of move up to combining into quarters and getting just more complex. So if this is such an important thing for your development, um, a lot of people think that Thebe perfect pitches. It's something that they need to know. I've known a few people who have spent a lot of time trying to develop perfect pitch. I have actually taken a perfect pitch course myself. When I learned, um, how to do relative pitch, I saw a huge benefit in it. And then I started working on perfect pitch, and honestly, I don't see the benefit in it as a musician, Um, I know a lot of people spend a lot of time on it, and there's a huge controversy on whether or not it is even possible. Er, it may be possible word we may not have, like, really going to the bottom of it yet. I'm still on the fence. I'm not sure Perfect pitches, even wearable. But, um, I I have not seen the value in learning together so that they change one day. But where I am right now is that I don't see the value in being able to hear just randomly random notes and being able to identify random notes because that's not what music is. That would be just like hearing sound and being able to identify random sounds. Music is structured, structured sound, so music is very structured sound and we're taking. All of these things were putting them into these groups of beats. And we're saying, OK, we're gonna try to keep it within this harmonic structure and this key signature, and we're going to keep the scales. We're gonna try to keep everything in some kind of order here. And so that's why relative pitch makes a lot of sense for musicians to learn, because when you are playing the song, if you say and we're playing this song, it's in the key of C in C major. Okay, then you're probably gonna be dealing with just the natural, you know, like the white notes on the keyboard on the natural C D E f g A b. Those are probably gonna be the main knows you're gonna be dealing with. And those are going to be the intervals that are from the major scale that we need to really be able to identify. This is a useful tool. And so when you're hearing these difference melodies or these courts being put together all based on the C major scale, yes, this is something you can use. You can actually use this right away. And when you're playing off of other musicians, you can start hearing what they're doing. You don't need toe, see what they're doing or what if you were playing off of another musician, but you didn't understand their instrument. For example, your guitar player. And you know, you're you're playing off of a saxophone player. Maybe you don't play saxophone, so you don't understand the finger rings, but you just have to use your gear. And that's all you've got. Okay? And they don't understand guitar. They don't know where your fingers are either. You both are just using her here to listen. Your ability to use your relative pitch, your relative, your training is going to define how well you're able to really play off that other musician. That makes sense. Okay. I feel like we talked a lot. Be sure to get PDFs. This is gonna be a lot of fun. I'm really glad you're here. This is an awesome skill. So let's jump right in. Let's go to the next lesson. I'll see you in the next video. 3. The Chromatic Scale (page 2): Let's get a refresher on the chromatic scale. When we are naming a note in music, we're going to use one of two systems. We're going to either used the chromatic scale or we're going to use the interval. Okay, so you can think of a notice having a chromatic name or in interval name now in this course were mainly focusing on the interval names, which will look at in just a minute. But in order to understands the interval name, we may need to use the chromatic name just to get up to speed. So let's get a quick refresher on the chromatic scale. This is the chromatic scale. The chromatic scale is the musical alphabet, every single mount in music on every instrument. The way that it goes is a B C D e f G. After G, it goes back to a again a B c D e f g a B c d e f g m b c d E f g. Now in between a B, C, D E f g. We have sharps and flats, so the the pound sign or number sign or hashtag is a sharp, which means it's just one friend higher okay, or half a step higher were one friend higher, so that is a sharp on the sharp will have the exact same name as a flat. It's the same note eso in between an A and A B note. There's one single note, and it is a sharp, which is the same as B flat in the flat symbol is a lower case be that's just open the corner of the note. So in between an a note and the note, there's one note, and it's a sharp cause. It's one higher than a You see the hashtag next today. That means it's a sure, so it's one higher than A With a sharp is the exact same note as B flat. That's why would be flattened princes right above it. So B flat is one lower than be. It's got a little be next to it. So a sharp and B flat or the exact same note. So a, B, C, D, E, f, G, and everything will have one note in between. It put that one note will have two names. It will either be the sharp name or the flat name in music usually, uh, the song will have either old Sharps or all flats. So if we have to play a sharper flat, the song, the key of the song, will tell you that everything is going to be in flats, for example, or maybe in a different key. Everything will be in Sharps so we don't mix up sharps and flats, usually in music. It'll just be one or the other. The song will either use Sharps or the song will use flats, but it will not use sharps and flats. That's why the sharps and flats have two names still to names. So, for example, here we have a C sharp to the sea in the hashtag. That means that sea short so is one Fred higher than a C. But that is the same note as D flat because if one front lower than a deep the d sharp one for a higher than a D. But it's also the same Notice E flat, which is one friend lower than E. The F sharp is one for higher than F, but it is one friend lower than the G, which makes it a G flat and then at the end. We have G Sharp, which is one friend higher than a G. But it is one fret lower than and a, which makes it a flat. Also, G sharp is the same note as a flat good one, Fred Lower. Then a after G we g g sharp and then it was around the world again today. Okay, so now there's one more thing about the chromatic scale and you'll have it. Um, the exception to the role is a B C D e f g a B c d e f g a b c D e f g after G. You don't a again. Everything has a sharp or flat in between it. The exception to the rule is that there is nothing between B and C and there's nothing between e and f. Okay, so there's no be sharp and there's no see flat. There is no e sharp. There's no f flat. Those knows don't exist. They just don't exist. We go right from you see, and we go right from these f or for going backwards. We go right from that e already from C to b. Okay. Other than that, you got it That's the chromatic scale. Now what we do is we plug in the chromatic scale. We can put on any string that we want on the guitar. We have to just start counting from whatever the string name is. Let's start from the a string. OK, so E is my second low string, uh, a string. So it's an open A. So if I go to the first fret, that's a short which is the exact same known as a B flat. Okay, first, fret eyes a sharp, which is the exact same note as a B flat. Then my second friend is a B. My third front is a seat. Fourth front is a C sharp, which is the same note as a D flat. My fifth, Fred is a deep six. Front is a D short, which is the same note as my e flat. My seven front is an e. My eighth fret isn't f right for me to f my night. Fred isn't have short, which is the same note as a G flat G flat. My friend's eyes, a g. My 11th fret is a g sharp. Okay, G sharp, which is the last one is the same note as an A flat in my 12 Fred E have just going around the world. So the 12th fret back to a Okay, so I'm at the 12th fret So I'm back to a which I also had opened. Let's do that again a little faster this time. I'm not going to call out the flats. Just gonna call up the sharps just to speed things up on a string. You see C sharp d d on the fourth front. Sorry. Dealing a different Sure g g sharp A Is on the 12th fret Same as now. If I keep on going up, I just I could keep on going up. I just continue on again. So another 12 fret. Hey, 13 friend. A short 14 threat. Be 15th fret See right from you to see? Sure. Sure. E from F Sure e ran out of France so we just keep on going up. Now you can count the chromatic scale a sending or descending. So if we're going backwards, then we'll just count the chromatic scale going backwards. So, for example, if I'm on the a string 12 fret again backwards. So it's a I love French is G sharp, Fred G. Now, if we were to what if we went to the D string? OK, so the D string is the third string from the booth. So let's look at the chromatic scale on the D string. But we have to count from D because it's the D string. So we have to count from the d note the chromatic scales, all the notes. But you have to start counting it from wherever you are on your instrument. OK? So if you are some kind of a horn or woodwind, you would start counting from whatever key you're on or whatever. But you're on. Or if you're on the piano from whatever. No, you're on. You start counting from there, wherever you are on your instrument, that's restore counting the chromatic scale. So in our case strings, we're gonna come from Dean Open D. Okay, we're counting from D. So the first bread on the D string second e a friend from B to C C. Sure d you've got to di on the 12th. Fret good. So when we get to the 12th fret that's where we've completed the chromatic scale. All right, So we started on the D string on. I got to the toll friend. I had a dino again That was also happening on the A string. Hey, Fred is a again. It will be on the Eastern E 12 fret the G straw, the B strain may be and the high e of course, this will friend is where the chromatic steel goes around the world. Okay, so this is good if we need to use the chromatic scale to help us with the intervals is important to understand how it works. Then, like I said, notes will have two different names so we can call it by its chromatic name, or we can call it by its interval name. Um, the important thing to note is that a chromatic name is, um it's very much of a permanent thing. So, for example, this'd isn't f sharp Note. It's my fourth fret on the D string. Sure. So this note is always going to be enough sharp. You don't always be in f sharp. Okay? It will never change, no matter what. The key is on men, No matter what the song is about, what the courts and with the scale. It'll never change. It will always be enough sharp even if the intervals are different. If I'm calling this by a different interval name, this note will still always be enough. Sharp note. Okay, this'll note, I always be notes my second friend on a string Or if I go to the on the seventh fret on the a string is always gonna be an e note. Always no matter what the case, no matter what the song, no matter what the key with scale or even with the interval, is that I am calling it. The intervals can change depending on the situation. But the chromatic name will never change. Okay, this will always be an E noto. So I hope this makes sense. Um, review the chromatic scale and I'll see you in the next video. 4. The Major Scale (page 3): Let's take a look at our a major scale. We're gonna look at the a major scale from a few different perspectives and we're not learning this from a soloing perspective. We're really just looking at this from and perspective of. We want to be able to analyze it and use it for the bitch recognition. Okay, so let's look at it just on one string. Let's look at it just on the a string. OK, so what I've done is this is the a string. Just imagine one string tab and a boat look of the no names. Now there are 12 keys in music, but we could have every key is going to have seven individual notes. So when we were looking at the chromatic scale, we saw that there was a B c D e f g. Then we have the sharps and flats in between. But if we just look at the a B c d e f g and then it goes back to a again a the C d e f g There seven a, b c d e f g or seven. Okay, the seven natural notes. It isn't easy when you think about it. And depending on the key, sometimes you'll have some of the notes will be sharps or flats, but we're going to have a total of seven notes, and this is going to be true. For every single key of the major scale, there are only seven notes. The eighth note is the Octopus, where we go back around the world to the first note again. So the eighth note is the same as the first note, but there are just 77 different notes, okay? And so that is really what we're looking for here is thes seven different notes and we want to play them first. Let's just play them on one string, going from job it all the way to the 12th. Fret the toll friend is gonna be where we have that eighth note again. So way have the second fret. Be fourth fret See short Fifth Threat Deep Seventh friend is the ninth friend is the f sharp. The 11th friend is the G sharp. And then the tool fret is the active where we go around the world and we hit our first note again. Yeah, 12th friend is the octave, so let's listen to that again. I don't care what fingers you used to play. This This is not about guitar technique. This is just about understanding what this looks like on a single string. OK, all right. Those are the seven pitches and then we hit our active or eighth note. 1234567 And their 12th fret is the same as the first note. A B c sharp d e f sharp g sharp. Now hard. The reason that I wanted to go through the chromatic lesson with you and that I'm listening at the chromatic names here because, like I said, as we change keys, if you are in a different key, um, you're still going to have some kind of a natural or a sharp note. It's a B C D E f g um, every key is going to have one of those notes. It will either be a natural or a sharp or a flat, Okay, but it's not going to be two of the same kind. So, for example, we can't have an A and in a sharp in the same scale, not in the major scale, anyway. Not in any key. We can't have that. We cannot have a B and B flat. Okay, We do B flat exists. Yes, we have. You find we don't have the sharp that doesn't exist. But we do have the flat, but we cannot have a B and B fly in the same scale in anything here. We've got to see sharp, and that's normal for a major scale. But we cannot have a c note. And to see sharp note, we have to pick one. Okay. Um de so they major skull is a denote. Um, there's also D flat and the sharp decline in D sharp also exist. But you have to pick one. And that's what I'm saying. There's a B, c D e f g seven and we have to pick one of each. So we got seven in visual notes. Okay, so we can't have a D and D flat, for example, or we can have a D and D Sharp, for example, or we can have a D flat and a d sharp, because, remember, we don't make some sharps and flats. That's something we don't ever do. We're really trying to avoid that. We have this Big one. Has these some kind of a d When you some kind of a Some kind of a b, some kind of a see kind of a day, some kind of an e and so on. And we have to just pick one of each. Okay. And that is easy way to think about how the major scales were put together. Sometimes you'll have some of the notes will be sharps or flats, and so will be natural. That's OK, that's normal. But you're gonna have one of each. Okay, One of each ABC e f g, some kind of each of those notes. All right, so the reason we're going through this backwards this is the scale that you probably heard Mawr than anything else in your life. And we're going to draw upon this when we get into the game. When we start trying to identify our pitches eso we want to be really thinking about these minutes now. We said that there are seven of each of the natural, so you've got it in a B C d E f g and then go back to again. We can't think about these. A very basic basic interval sense as being one, 23456 and seven. Okay. And so that is a very basic interval way of thinking about them. We've got 77 different kinds of notes. All right, so we need have won. The one's gonna be our route. No, we need to know that for the key. Eso kind of to some kind of a threesome. Kind of the four. So come five kind of six, some kind of seven. And then we have our active, which is our objective is the same as our first note. Our route, Newt. Okay, Now I want to take a look at the same scale. Still the a major scale. Want to take a look at this using the A string and the D string, OK, and the reason we're doing this is because this is going to directly relate to when we get to the game. Okay. When we actually start trying to do our pitch recognition eso here, we're going to start the a major scale and just play the 1st 3 notes. So the open a and then the second fret and fourth fret. Now we're going to switch over to the D String case. We're going open deep Second Fred on the D String. Fourth fret D String six Friend D String. Seventh Fret G String ninth Fred D Screen. 11th Front D String on 12. Fred G. String. Good. Okay, I want you to be familiar with hearing this skill on the D string. So if we say it's way good and I wrote down the names of the pitchers or next to town. So the 1st 3 notes are a B and C sharp. Good. Then the first note on the D string, obviously is the denote and then the e u have sharp g sharp. And then the a is on the seventh fret. That is important, because before when we were just on the a string by itself of the 12th fret was where we had the octave of a We had a way of the 12th Fret Well, what? We're on the d string. We hit the active on the seventh Fret okay, on a string. And in the seventh fret D string is the oxidative That's a again. And then from there we just keep on climbing up Now every time we get the told Fred is going to be the same. Is that strange? Okay, but if you think about it like we said 1234567 Real simple basic way of thinking about intervals. 1234567 So, 1234 Okay, so four is the first thing on the D string Open D before four, 5678 It is the octave. Okay, so where we have that a note again? So the seventh fret is where we have the octave. So for his active 1234567 octave, which is the same one. Good. So this is 11234 And we just took it up to the 12th fret, but it will just keep on going. Just keeps on rising for 5678 which is the same as one. So, um, it just keeps on going up. Okay. After you get past the 12th fret 12 is the same as open. So you just keep on going up the fretboard. Okay, so let's go. Audio eyes. It's a four. So it's like 1/4 interval on the open D string for the key of a. That's what relative pitch is all about. We're saying we're in the key of a que they So we get to the D String open for 671 or hated the seven friends going to the one again. Where the octave one 34? Because remember, we said way extremist before. So when I hit the tool, Fred, it's like hitting the fourth interval again. That makes sense. OK, so this is going to be an important thing to help you to play the game is to be able to understand the sound of the major scale, open down the a string and then also going from the A string to the D string that this is going to make sense to you very shortly. So go through that. And as you're going through that, especially as you're going through the a string in the D string, I want you to really pay attention to 1234567 So they like 1231234 Now we can't go backwards. So this is 443217 3432111 Go slowly okay. I'm not trying to not go too fast. I explain this to you as quickly as possible, and I would love to just give this to you as fast as I possibly can, so you can understand it. Super quick. But in order to really open up your here, you have to slow down and be calm. And, uh So if you're like me, I like to play a lot of fast stuff. I like to really push my technique and push my fingers and go through scales at blistering speeds. I love doing that, but when we're doing your training, we have to slow down and listen. Listen carefully. This is very carefully. Okay? So go through that and named the basic intervals. 12345671234567 Play forward and backward and name those intervals. And I will see you in the next video. 5. Intervals (page 4-5): All right, let's go through our intervals. So Interval is when you are saying, um this note is this distance from this other note? It's really a point A to point B. Okay. From point A to point B and intervals are telling us that you have to have two notes in order to have an interval. Okay, It has to be a distance away from something else. So in order to have an interval, we have to say, from this fixed point, this notice here, that makes us all right. So let's go through the names of the intervals. And I think as we go through it, it will make a little bit more sense, and then we'll get it on the guitar. Okay, so there are if we compare the intervals to the chromatic scale, these air to separate ways of naming notes, the chromatic scale you say, Um, this note is a There's noticed a sharp this notice of e and those air fixed. Okay, we said that there are always gonna be those notes in a will Always be in a a sharp will always be in a short that will never change eso There are 12 chromatic notes. There are 12 intervals. Okay, but the difference is that the intervals can shift depending on with the where the two knows are They have different names. We'll see how that works. But the starting note, the starting interval will be the route will be like the root note. The first note actually could have multiple names, so we can call it the root note where we can call it the key. Okay, that makes sense to the key of this key of whatever we could call it the tonic. Okay. Tonic is a great music theory term. The tonic is the one note the route noticed the key street tonic. And it can also be called the unison right. Unison would be as if you were saying the noted being compared to itself. So, for example, if we has, in a way, we're comparing to the exact same a note. It's Unisys. Okay. Comparing the exact same no to itself. So are starting milking that multiple names root note, the key, the tonic or unison. Okay, so all those are the first interval. All right, now, from there we've got a sequence which we've got twos threes, fours, fives, sixes and sevens. Okay. And then we get to the octave here at the end. Remember when we were going through the a major skill and we said there was a real simple and basic way to name the intervals. We were calling them 1234567 1234567 Remember that. So there are seven different kinds of intervals. All right, Um, just like the chromatic scale where you have a B C E f G. But sometimes you could have you can have, ah, denote you could have a d natural or could be a d sharp or could be a D flat. So the deacon have different names. So intervals were like that, too. We've got 1234567 But off the 123456 and seven, they could have different names. That's what we need to learn about, Okay? The intervals or what we're going to use to do our pitch recognition of. And the reason for this is because we're doing relative pitch. We were not going to know what that he is necessarily when we're doing this in real life, we'll hear something not necessarily going to know what the key is. But we will imagine this in the key of whatever he X. And based on that key, we can hear the pitches. So we're not going to be able to say, Oh, that's an e No, that's an f sharp We're not going to know because we don't have perfect pitch. So we're doing relative pitch, and from that we need to understand how these work. Okay, so all right, one. And that's the root One is the route. The key, that sonic or the unison. It's all the one. And then we have a minor second and a major second. The way these EMS work is, there's a lower case them, which means minor. And there is an upper case in, which means major. Okay, so the little amas minor and the big capital M is major. So you got the minor that comes with the minor comes first. You get minor second, then we have the major seconds. That is the same thing with the thirds. You have a minor third, and then it's a major third, then the fourth of the fifth. They have the p next to it. The p just means perfect. Okay, so you have perfect fourth in a perfect sense. But in between the perfect fourth of the perfect fifth, there's this one. Interval has got two names. It could either be the augmented fourth or the diminished fifth. The augmented fourth is one higher than the perfect fourth. Diminished fifth is one lower than the perfect fifth. But it's all just this one interval. Okay, so just this one interval and then we've got the under six Major six minor, seventh major, seven. Okay, so with the exception of the fourth and the fifth, everything is just a minor or a major minor. Always comes first. So if you think of it as 1234567 1234567 We know that the fourth and the fifth or perfect fourth and the fifth or perfect, but everything else is going to have a minor and major minor to major to minor. Three, major three. We'll skip down the six line or six major six minor, seven, major seven. And after the major seven, we goes the octave. The active is the same as the root. It's a higher pitch were a lower pitch, but it is the same note Name, same interval as the root. It is it. It's adoptive, so that's a different interval. But is the same note name as the root note? Okay. Oh, so a big question is why are the fourth of the fifth called perfect? Um, you can think of perfect as the same is major. So the perfect is like saying, Major, the reason we don't call the fourth and fifth Major has to do with I believe it has to do with circle of fifths. Um, there is, uh, I don't know If you ever looked at the Circle of Fifths is something that a lot of classical music students will learn. It's a way to learn all of the key signatures for sight reading music. There is a, um, deeper things you can learn from the circle of fifths, which is the inversion property, which is the circle of fourths. So, for example, if you look at the circle of fifths going clockwise, they're just going to perfect fifths perfect starts and see high noon, Mr. G on it goes to a d. A. Just goes and so on until you've completed all 12 notes each time going in a perfect fifth Moshe. But if you look at going counterclockwise so then you're start on C and then we go to Elf and then we go Teoh a B flats and we're going counterclockwise around the a circle of fourths. Everything's fourth. There's a version quality there where if we to start with C, okay? And so if we go clockwise just one notch to the G from CDG, so that's a perfect fifth. But if we started on the G go counterclockwise to the C note behind him, that would be 1/4. That's what you call an inversion music theory. And I probably should stop talking about this because I don't want to get sidetracked. But it's the same two notes, a CNG so going in one direction from CDG. We call that interval perfect fifth, but if we reverse it, we just go from GOC. It's called a perfect fourth. It's the exact same two notes and just depending on which one we're calling, the one changes the entire interval. Eso that is an inversion property in music theory anyway, That is why the fourth and fifth are called perfect is to show that inversion property. But all you need to do is just think of the fourth and fifth as being major in between the fourth and the fifth we've got and augmented Fourth, which is the same note as a diminished fifth. And lamented, Augmented is kind of like one higher that it's kind of like a sharp. So all images one for it higher than and diminishes one friend lower than diminished is like one lower. Okay, so it may 5th is just one friend lower than a perfect fifth. Okay, let's look at this as compared to the open A string was Put it on the guitar now. All right, eso are open. A string is going to be our rooms or our topic. OK, Could be our key could be our unison. All right, so we could call the root note or the key or the time or the unison A Michael of the tonic for right now. This'll tonic every I'm going to go one friend at a time. We're gonna play all of the intervals, but every time I go up. I'm always going to play the tonic, which we said was are open A in this case and my first fret eyes. My minor second is the first hole I come to second major seconds. Liars. That is what in perfect fourth sales. Like I when I compare all of these intervals to the tonic we're truly hearing with that interval. Sounds like that's why I'm always playing the tonic first. Okay, this is how you should be practicing your intervals on and forth right now. Going up to the sixth fret offensive Fourth, also Dimension Fifth also augmented. Fourth, you can hear how dissonant it sounds. Sounds off Perfect. Perfect line six Major six lighter Seventh major seventh. Okay. Can you hear that? Now? Of course, I could keep on climbing up the front board. And I'm just going to regard the active as being the tonic again, whether ruin it so I can say walked. If they go to the 13th lighter second major second, Keep on going like that. Let's go. Let's keep it in this register for right now. So let's go again. Major, Second, major, third, perfect fourth and the fourth or fifth major six, right? Great, Great. So when we're practicing intervals, you should practice them exactly like I just did it. Now you can kill up and starts mixing them up to start trying to hear what they sound like out of order. That's a good exercise. We're going to work on that in just a minute. But this is how they all go in order. So as we said before, you can look at gaming all the chromatic notes. We just say it's a pretty and that's good. OK, we need to know what the note names your gold because that something that deal with constantly music, we just need to know the chromatic names. But we also want to start thinking about these interval names, okay? And this is going to open up a whole new way for you to think about music by thinking about the intervals always compared to the tonic always compared to the talk was compared to the root note. Okay, so when you're doing this, always start with the route does now going forward down the road. We'll be doing this in any key. We want to do it right now. We're just sticking with a Because it's simple is a good place for us to learn. Okay. But we will be doing this in any key. We want going forward. All right, But if you said all right, so this is minor seconds. Major seconds. Liner third. Okay, so maybe you want to start getting used to the sound of a minor 3rd 3rd you'll have to count up to get the third front, you say? Well, what does the what is the perfect fifth? Some like and you have to count up. OK, minor. Second, major. Second, minor. Third, major. Third perfect fourth. I've been fourth. Perfect fifth. Here we go on some fronts on the racetrack, okay? Because they are practicing some of these intervals to see if you can hear what they sound like. See if they make sense, they're all different. You've heard them all before, but now we're attaching names to the okay, and this is a really important thing. Now, even if we change the key and we started doing this on a different stream, the intervals would be the same. All right? We would still call them by the same names if we started from the open D string, for example, or reserved from the open G string or the high E string. The intervals would be the same. Okay, So if we said this'll was going to be our new tonic changing keys and now this is the new tonic tonic 2nd 3rd and so always. And so we could do this story from any those from any string. And we can just go up and name the intervals. But for right now, I want to stay in the key of a keep working on that. A string, uh, tonic is a and the big take away from this is that the, um 1234567 Each of them is going to have, um, a minor followed by Major, except for the fourth of the 5th 4th of the fifth of perfect. And there's just one interval in the middle of two names augmented fourth, which is the same as the diminished fifth off. The interesting thing about the intervals is that when you are, if you were comparing, you can compare the animals to anything, compare the intervals to any scale, any mode, any arpeggio, and any court, and actually This is how a lot of courts and scales and arpeggios are analysed is by using intervals, not by using chromatic notes. And the reason is that chromatic notes or permanent Like we said, you can't change the keys there. Abi's o svi It always will be. It will never change. OK, but intervals could be putting any key. That's the beauty of them. Is that weaken taken interval where we could take a sequence of variables and we just put them in any key because just change them as we want. But the intervals will always be the same. Distances will always be the same, and that's one of the great things about intervals. It's a great musical tool. So if we said, um, for example, that the major scale the 1st 3 intervals, is ah, tonic and a major second and a major third okay, let's always going to be true. It's going to be true. Every single major scale key, every single key always gonna be the talk major, second, major, third, that will always be true. Or if we said dumb, a dominant seventh chord is going to be a tonic and a major third and a minor seventh. That's always gonna be true. We could take those air balls and put them in any key. Always wanna work is always going to give us a dominant seventh chord. So the animals are huge, huge tool that we could use when we're analyzing or constructing chords, arpeggios, scales, modes on def were deconstructing melodies, were created melodies really, really powerful tool. So start thinking about them in this way. And also when we are going through a major scale, this is actually true for every single mode we're going to have, Um 1234567 just like we did on the major scale. But each one of those is going to get some kind of all. So we're gonna have a one. It's gonna have so kind of a to either a minor second or major second, but not both. Some kind of a three, either. Ah, minor, third or major. Third, but not both. One of the two, some kind of 1/4 either a perfect fourth, an augmented fourth, but not both. One of the two so kind of the fifth, either Perfect with words finished with but not both. so kind of six. Either minor. 64 major six, But not both in some kind of seventh. Either a minor, seventh or a major self, but not both. One of the two. It is gonna one of giving a seven different intervals. And boom. That's how you have a scale were removed. Okay? It's similar to the way that the chromatic scale works to construct a major scale intervals kind of work the same way. We have to have some kind of a tube, Some kind of a threesome kind of before and from that, You got a scale. So start going through the A string up and down counting, always starting with your time. So all the way up and do backwards, major 78616 Do afford and backwards start getting used to counting the intervals. And this is, uh, really good Segway to take us into the next video. So I will see you in the next video 6. Major Scale Intervals (page 6): Let's go through the intervals off the major scale. So we talked about how Theo, the major skill, has 1234567 That was the very basic and simple way to look at the intervals of major scale . Um, and we also no, that from intervals. When we're constructing a scale, we need to have a root note. But then we need some kind of a second major second or liner second be some kind of 1/3 of minor, third, major, third so kind of 1/4 a perfect fourth or an augmented fourth and so on. And we picked one of each of them. You got a scale. Well, the good news for you is that the major scale is made up of all major and perfect intervals . So every interval in the major scale is going to be major and perfect. It's the major scale. So of course, all the intervals we're going to be perfect and nature alright, so that makes life a lot easier for us. Um, so let's take a quick look at the a major scale just on the a string. Okay? Just Do you remember when we went out on a stream. Eso is that we've got major. Second, major, third perfect fourth major. Six, major. Seventh. Okay. Was there all the intervals of the major scale in every key? Okay, so it doesn't matter what the key is. Every key of the major scale has just got major perfect intervals, so it's really easy to put it together. So tonic for a second major. Six, major, seventh and octave. Okay, Just force keeps going on, which is the same as tonic. Major, Second, major, third perfect fourth Perfect Fifth major six. I ran out of France. Okay, so let's listen todo tonic. Major, Second, major, 3rd 4th Perfect. This, uh, age or six And I'm going a little fast. When you're practicing this, you should slow it down. And really listen carefully to each of these. Let's go through it backwards. So So, major, six fourth major second. Okay, So you should be pretty familiar with the sound of the major scale. Like I said, we've been hearing your entire life, and now we are just attaching interval names. Fridge pictures. It was really great about this. Is that we said before that there's only 12 intervals There's only 12 okay? And we've got seven of them in the major scale and they're all the major and perfect intervals. So that's what we're going through right now. Seven of bitches. There's there's only 12 but we're getting through seven of them pretty quickly because they're just the notes of the major sale. So this is going to help us tremendously. Yeah. Now let's look at combining the A string in D String here. Okay? Like I said, the reason we're doing this is because this is leading us toward playing the game, the game, the pitch recognition. So as we're going through the major scale the 1st 3 months of the A string and then starting on the open D string when we get to our fourth and going all the way up to the told front so way have the talk. Major seconds. Major. Third open D string is a perfect fourth. Second front D string is perfect for threat. Major. Six six fret, major seventh. So is our active. Okay, Ninth Fret Major, 2nd 11th Fret is our major Third and 12th. Fret is the perfect fourth again. Open saves the open D string. Fourth perfect fourth Perfect fourth based on open a Stream. So let's look at these all again. But this time, let's do it properly. Let's play the tonic in between each one and your second major dirt. Her fourth her fourth open D string is our perfect fourth major. Six Major, seventh major. Second, perfect fourth. Okay, let's do it again. School. Faster. Now, when you do this, you should be doing it slow and really paying attention to each. Careful, you have to know each one of these. Each one is just a support, as as every other one they're all equally for They're all equally important. You have to know all 12 intervals. Okay, so some of them may come faster than others, which is flying. It's really fine in the end. As long as we eventually get all 12. That's our goal. So if you can, if you latch onto a few intervals and you seem to get them pretty quickly, that's great. Just go with it. Great. But ultimately, we need to get all of these. Take your time and listen carefully. All right, so on your second major, third, 2nd 3rd 4th Now let me point out a couple of things. That may be tricky at first when we get to the higher register. Okay. It may sound a little different in the beginning to you in the lower register. What I mean by that is, for example, we've got the higher register. The word register is like the word octave, so register is an octave. Okay, Got this register. You got this register. You got this register. Rolled octaves. Okay, we're 12. Notes. 12 minutes. 12 12 notes in a register. Okay. Weren't watches. Oh, so we were going to a higher register or active, and they seem like a completely different no to you. And that's for all that. Totally normal. But what we're going to do with our ears, we're going to try to associate it to know that we know. Oh, when we were going through the major scale Tried to make a big point That seventh fret of the D strict eyes are active, are active of a string tonic, and seventh front on the D string is are active. This is really important. This is the note that you want to know. Festival active seventh fret of the D string is one register, and we are going above it. And below it going above that, uh, that active of they were going below it. And we're looking for all the pitches in between. And so when you are on the way, are going to try to compare it to how far away is it from our either tonic or are active? Okay. And you associate it with being close to your depending on how you hear you hear either counting up coming back, you may hear this that you can hear it going, uh, major scale back Teoh he octave again. Or you may say you can hear this one. Okay, we said, wait a second. Okay? It's like a friend of a strict major second, but we also have a major second up here on the ninth front, the D string. The second is just the first note. The scale off the octave talk. So way. You almost want to be able to sing it, sing it backwards to note. All right, we have that same thing with the third major. Third, do you do, uh, they want to sing it down to the low tonic, or it may be upon the 11th. Fret. Okay, so you may hear it like that. And what we're trying to do is we're trying to get all seven of these different notes in our ear. We want to be able to hear them and people sing them a little bit, too. You don't have to be a good singer. I'm definitely not a good singer. But if we could kind of get pitch, get kind of close to the pitch thing, that helps out to be able to save me sometimes because we don't we don't want to. In the beginning, we can try to play the notes to hear them as we're practicing. But when you get down to playing the game, you're not going to be able to play the note. I'm going to tell you not to play any notes except the ones I'm telling you. You're allowed to play. You're gonna have to do it all in your head, in your ear. Okay, so you are right now. You can play the notes to hear what they sound like, but I really want you to practice using your here and use your mind to get these pitches. You can sing them too. Okay, That's part of using your mind and your ears. You can sing them. You're always allowed to say, but eventually we're going to take away your ability to start playing notes. T o right. Now, you can do that kind of practice how that was found on the guitar. But eventually I want you to be Oh, sing it down to the do. Does that make sense? Okay, Good. So getting used to going through the major skill and naming all of these intervals, they're all majors and perfects. Major, Second major, third perfect fourth, Perfect. Fifth Major. Six, major, seventh. And we have the active, which is really, really, really important case to some. Front on the D string, then just keeps going up from there. Major site major. Third perfect. Fourth. And so Okay, we're here on the, uh, friends Perfect fourth. So it just keeps on going up. Doesn't mean you're six. Your seventh again. Another octave, another register your second, and I rather fronts. Okay, so they're all majors. They're all perfect. Start going through them and really getting them in your gear. All seven of these major and perfect intervals They're just from a major scale. This is really going to help you because there's only 12 intervals and we're dealing with seven of the 12 intervals Cure. Okay, so this is really going to help you a lot. Work on these and I will see you in the next video. 7. The 5 Non-Scale Intervals (page 7-8): Let's go through the other five intervals. This will complete the set of the 12 intervals that we need. We know that the major skill has all major in perfect intervals. So let's go through the five remaining intervals and we'll have everything down. Okay, so the other five intervals are the minor intervals. We've got minor, second, minor, third T. Meier, six in the mire seven. And then we've got the diminished fifth interval and the diminished fifth intervals. The exact same is the augmented fourth. The reason that has the diminishment has two names is because remember the rule about how we need some kind of A to some kind of a threesome kind of before. But we can't double up. So, for example, when you're constructing a scale or a mood, you cannot have a minor second and a major second interval, you have to pick one. So that's true. For the fourth and the fifth, you cannot have a perfect fourth and an augmented fourth, and you can't have a perfect fifth and a diminished fifth, so you have to pick one. So if we wanted to have, um, let's say, uh, the perfect fifth. But we want to know right before it. Then we would call it a little message. Fourth, so we would have the perfect fifth and the augmented fourth. But we now we cannot use the perfect fourth. That makes sense. We can flip it. Let's say we want to have the perfect fourth, but we also want to have the augmented fourth, but we're gonna call the diminished Fifth. So now we cannot use the perfect fifths of the fourth, the diminished fifth. We cannot use the perfect fifth. So that's the reason that it's got two names. All right, so we got over hunter animals and we've got the We'll call it the diminished Fifth to make it easy. So let's listen to how they all sound and starting on the A stream. We've got our or is route on. The is our minor second way. Third friend is our minor Third, uh, in this case, it just happens to be on the fret. We could see it different places later on third fret Minor third. Okay, Now let's go to the D string. Okay. The first fret is going to be our diminished. If so, let's listen to the tonic first. That sounds really dissident. I've used the word dissonant before with you, dissident. As it goes to constant think of Constant as being a nice A nice sound like maybe are perfect fifth I za sweet Nice, consummate sound Nice constant interval Dissident intervals One a smooth, very edgy, very jarring like are diminished Fifth in the first, uh, good third fret on the D string is our binder six. All right. Our fifth fret on the D string is our miners my herself. Okay, then we go on a past the octave. So with some friends, Rothe, friends, the octave. So when we go up to the eighth front, that's where we go and hit are higher Minor seconds. Seconds. Seconds. Okay, Sounds very distant. All right, let's go to the 10th fret which is gonna be our Meyer third, Okay. And, um, looks like we have ah type over here. Um, I'll make sure I fixed that in. Pdf, this is a, uh this is meant to be a 13. So the 13 is where the diminished fifth is. Obviously, you may have picked up on that one. So if the diminished fifth is on the first fret. Why would it be on the 11th? Right? We have to add 12 to since will be the 13 threat. Okay, so that's going to be the 13th fret Dimension. Fifth is up on the 13 French. Whenever we get to the tool friend, we have to add 12 to it to get to the nice active. Okay, so when we have diminished bath on the first fret and we want to go to the next register, it was 12 plus one. I know you hate us 13. All right, so the 13th fret That is where we hit the diminishment against. Okay, good. Now let's take a look at, um how do we How do we hear these? How are we going to recognize these fishes? We are going to use associations. Okay, So right now, I want you to start building up as many associations as you can on the way that we associate is we can compare to some of the other pitches. This is the first and easiest way to build up your associations. Compare them to pitches off the major scale, compare them to the sound of the major chord. There's the sound of the minor court and then compare to the sound of the nose of the major scale. So, for example, does the no sound like it is from the major scale? If it's yes, then you can try to sing your way to the note to guess what it is. I mean, educated Guess If it sounds like it's not the note from the major scale, then you say, Well, does it sound like it's close to a note in the major scale? It's gonna be close to a note. It's gonna probably be just one friend away from any node in the major scale. It's not the major scale. We'll just be one right away. So what is it close to? Wasn't right next to close to a pitch interval that he recognized. Can you imagine just being one Fred away? And that's how you're going to start figuring this out by here. So second sounds just really close. You can almost see right down Teoh, now the oh, and that's also true. Let's take a look at the octave of it. Okay, so here are some friend on the D string. That's wrong. So one friend from that is our minor second. So trying to sing it down one note to know that I will recognize which is so I'm associating it as being just one friend higher than my octave. Okay, let's take a look at the minor third. So, uh, now you may remember this from you were music theory, but the thirds both of them determine if something's going to major or minor. So it's a major third when you're dealing with a major chord on a major scale or major arpeggio. If it's a minor, Third is gonna be a minor court or minor scale minor arpeggio, so you may be able to hear almost as if it was coming right out, of course. So this note this minor third, it's a C note. Okay, this is one of those times where we can access the chromatic scale to see note, which is part of a minor. Maybe we'll hear that is one of the building blocks of our water course. Let's see if we hear it in a higher register. Okay, so and tonic. And of course, we know we've got some friends are so appear in the this for the lighter 30. You hear a lot of work. Doesn't sound like it's from a very much now. It's not a, uh, major sounding interval, but it still sounds very much like it just seems to fit in there perfectly. It's the liner third, do you? That's how I hear it is kind of like to settle down Teoh. Good. So that is the minor third. Now let's take a look at the all right first. Actually, this was pretty easy. It sounds extremely dissident, right? So I I asked you, does it sound like it's from a major scale? No. No way, No way. But if we can sing it up, one pitch then is going to sounds like it's going to fit right into something. Teoh. Just one friend is going to go right to the perfect fifth, which is going to fit right in one of our most constant notes that gods are perfect. Fifth. Okay, let's try that on a higher register, which is what friend? 13 13th friend. Because one plus 12 is 13 there's the message, Fourth or the fifth, it's either 1/4 and it goes right to a constant out, which we might recognize Okay, Good. Now let's listen to the minor. Six. This is on the third Fret D string. Third fret. I actually hear this one the same way here. The diminished fifth. I just hear from the other side. So I hear this one as, uh, Sing it down. It seems to me like it wants to be. Oh, I can hear it. Go down. One fret too. The constant pitch, which is the perfect a note that I know Note that sounds like it's a perfect fit. Sounds like it fits in perfectly with not only the a major scale but a major court itself is just a perfect note. All right, that's the liar. Six Thebe Minor. Seventh SOS to fifth Fret on the D string. This'll one is a little trickier here. It was a little hard for me in the beginning. This was around the pictures. I had to really work on the way that I hear. This is I sing it up. I've seen it up. Two pitches to chromatic notes to friends to get to the octave. I was hitting my first notice visiting that Tony first to But if I could do that, then I can notes. Too bad from the active. So one back from the archivist Major self to back. So wait, that's hell of hearing the minor. Seventh is here to back from my active. I'm associating a lot of stuff against either the active here on the seven friend or my perfect fifth, which is on the second front. So for six, I got the, um, minor seventh fret which to my minor second again on the way. I've got a minor third, this writing with some kind of court, but it doesn't. Okay, that makes sense. So these are some basic associations that you can use to compare against the notes of the major scale. Is that the other five? So with this, we covered on all of the 12 intervals. This is really great. We're just about ready to start playing the game and start testing out our skills. So go through these five other pitches and I'll see you in the next video 8. Rules of the Pitch Game (page 9): all right. It is finally time for us to start playing the pitch game. So let's break down the rules first. How do we play its simple Just follow a couple of these rules and you will be up and running. All right. So you're gonna do We are going to play two notes every time. Okay? As you can probably guess, the first note is always going to be the open. A string second note is going to be any note on the D string. Any note on the D string so And you can only play those two notes. You could play them as many times as you want. You don't have to play them together. Um, but you play these two notes playing as many times as you want. You cannot look, I cannot Look, this isn't your training game. So what that means is that you cannot look at your guitar. So, for example, you can look over here to make sure that you're picking the right strings, but from there, So I pick the a string, and any note on the D string doesn't matter any note. All right, so that's my note Now. I could play these two pitches may want. Okay, Now I know the first notes in a okay. And, you know, to you're always gonna know your first notice. In a way, have Teoh make an educated guess to hear the second note. And that is what the game really is about. What is the second note? What is the interval? The second note. I know that's a minor second where I think it's a minor second, but I'm going to listen carefully before I make my final decision. Uh, remember how I do my association? I sing it because and I sing as much as I want to go on playing this game, I just can't Look, I cannot look at my fingers, have to hear it. And I could sing it, though I want Uh huh. Sounds like it's just one friend higher than that octave. OK, so I'm going with a minor second interval. Okay, Now we can look because that's my final answer. And it's a minor second interval on the eighth fret and I'm just one from above. So then what I would do is I I'll show you in the next video. We're going to have to cold. You're gonna have a correct and incorrect. And so I'm just gonna make a little take park every time I get were right and the correct And I'll make a tick mark in the incorrect every time I get one. Correct. And the goal is to play the game, Um, and just keep on playing the game until you can get 20. Correct? Zero. Incorrect. All right, Like I said, I told you this before when I first learned this game, I would have 19 or 20. Incorrect. I might have. I might be lucky. Have one that I could get correct. So I just I My year was closed. I knew with the speeches sounded like I just didn't know how to name them. I didn't think about that this way before, and I was getting everything wrong, okay? And I started opening up my ear and learning how to do this. And so the goal is to get 20 correct zero incorrect. And when you've done that, then you've mastered this aspect of relative pitch recognition, and that is amazing. That's what we're going for. So the rules of the game are that you always play the A string open first is always the 1st 2nd notice anywhere on the D straight. You could go as high as you want clothes you want, wherever you want to go. Now, while you're doing this, you may be like, Yeah, but I can feel where I am. That's okay. If you can feel where you are, that's OK. It's not super bad to say why no one in the middle of the front boards there's gotta be somewhere around here. That's OK. You can use as many associations as you want. You want to make it easy and comfortable for yourself to find out what these pictures are to be able to get the correct, Um, and don't go too fast. Take your time in the beginning, go slow. When I've done this with students, you may want to spend a few minutes just listening and singing, trying to get a pitch. And even if you spend a few minutes on it, you get it. Incorrect. Incorrect? That's okay. What is incorrect? Learn. Learn it. This is an opportunity for you to learn. Learn what this speech sounds like. I thought it was this, but it's really this. So really, Just pay attention to that and calm down. This isn't about this is really getting a gold star. If you get them all. Correct. You're not bad if you get them all in. Correct. I got the ball incorrect when I started this. So all of the process and you will wind up getting all these Correct. Just don't look until after you have made your final decision on what you think it is. If you have no clue what the note is, where the devil is then taken educated Guess you educated. Guess if you play note, you have no idea whatsoever. I have no idea what this would be taking educated guests say I know around here on the front ward, Maybe it's this note, okay? And then take a look at it and count up to the interval and say Okay and take each one is an opportunity to learn, But that interval sales like, okay, if you get it wrong, it's fine getting a wrong spine. It's an opportunity to learn. So don't just say I got it wrong and move onto the next one. Learned that one that you got wrong. Listen to it. Really? Listen carefully to it and say, next time I hear this pitch, I want to remember that it's this interval. I really want to remember that this is what that interval sounds like regarding that. Sometimes you will do the same pitch because we're gonna go for 20 of these right wing. The game is to do 20 tries, and we want our goal is to get 20 correct zero and correct. That's our goal. All right, um, through those 20 tries, we're gonna just randomly move our hand around, open down the D string. Just randomly going for notes. Will sometimes in the same pitch. Same interval, Where sometimes going to the same interval. You may sometimes get that same interval. Correct. And then later on, you may come to it again and get it incorrect. So that sometimes happens If that happens, it means you're not listening carefully to under your out wearing from it. So just slow down and really try to pay attention to it so that the next time forever that you share that terrible, you will be able to hear it. Get it? Correct. Okay. So just keep in mind the main goal here is Do not look at your hand and I'm going to go through this. I'm gonna play the game a couple times in the next few videos so you can see how you should be doing this. And I'm not doing it to show off. Actually, I would like you to do it with me. I may be doing it a little bit fast. Um, but I want you to not necessarily look at my fingers. Just try to use your ears and see if you can guess it with me. Okay. See if you can guess it with me, and we're gonna go through 20 and see how many of them we could get. Correct. We're just calling out the intervals here. All right. Like I said, you could do this in the key of a which we're doing in the Cube. A. And we can do this in a different key player on, and it'll all the same experience. Just understanding intervals doesn't matter with keys. Okay, so these the rules of the game, Um and this is a lot of fun. It's going Open up your world. Let's begin 9. Playing the Pitch Game 1 (page 10): okay. Time to play the pitch game using the A string in the D string. OK, we're relative to the key of a eyes or tonic. Um, I am going to call out the interval and the fret. So if you want to pause in between to check what I'm doing, then that would be great. So let's begin, and I cannot look. So Fred Nights she will. Major six means you're 64 Threat. Major seconds has made your second on the night front. All right, well, that is perfect. Fourth perfect. Fourth on the 12 fret. All right, well, under six were six on the third. Fret. Oh, yeah, that's five down, will. That is perfect front. I was 14th. Fret will seventh his minor, seventh and fifth fret marker is running out. Minor second again on your second number, ninth fret. We mentioned that sometimes we would be, uh, having some of the same intervals. That's okay. All right, well, markers really done. You're six again. You're six on the fourth. Fret. Hey, no, really running out this guy go. All right, so we got 10 down. See if I can access in different variables here. That's a major six again. Just up on the register is the 16th fret Major. Six is a perfect fifth. Eyes perfect fit on the 14th front. Okay, Will tha major seventh His major seventh on the sixth. Fret. Okay, Will on the 13th fret real. Ah, under six months or six on the third. Fret. Okay, good. Got 15 down eyes. A major. Third major third on it is on the 11th. Fret. Major, 3rd 11th fret. Okay, is a which is on the 15. 16 17 18 threat. 15. 16 17 18 18. Friend made yourself same thing here. It's good to go to the higher register sometimes. Try to trick yourself. Okay. Minor. Her seventh on these different do do dio two to go. All right, look, you look a lot of these images again. That is the major. Third revised three blind mice. Three. Nice s friend. 11. Threat is your third. All right. One to go. Want to go the eyes on the 15. 16 17 17th fret 17. Fred. All right. Great. We got 20 and I didn't get any incorrect. So if you go through that and kind of watch See how I was doing it. You can kind of use it as a guide to hear how some of these pitches sounds, or at least to know how you should be playing the game. So that is the game relative to the key of a. So go play the game and start learning your pitches. I'll see you in the next video. 10. Playing the Pitch Game 2 (page 11): Okay, We're back. We are playing the pitch game. Um, I feel like we got the key of a pretty Well, we got 20 out of 20. Correct, So that's pretty good. Um, let's do a different key this time. Let's do the kid d. Okay, I mentioned to you guys before that if you could do this in one key, you should be able to play to identify the bitches in any key. So we're gonna test that theory. Let's go to Kiev. D. So we're just dropping everything down One string. So our new tonic is the open D string on. And then we're going to hit any note on the G string. We have toe identify whatever note we play on the G string. OK, but is our atomic okay? And this will be good practice force, because D is perfect. Fourth away from a as we know. So this is a good distance away from what we've been working on, so Okay, let's be getting 20. We got 20 of these D string in the G string. All right, So but everything else will be in the exact same place, by the way. So all of the intervals will be in the exact same place that they were before active seven . Front. Okay. And it is on the 13th fresh or augmented. Fourth real. That is a major six use. Your six is on the fourth threat, Major. Six. No race. Well, that is a major seven. You can really hear the major scale. Just going up to a major seven. That is the sixth. Uh oh. Sounds like Fred to the thing you gave me a hard time for a long time. This is the It's the perfect for. So this is on the toll front her before? Because I I don't know if you remember the the inversion property I was talking about. So the perfect four sometimes is confusing. Almost sounds like a could be perfect fifth, but perfect for so, um, associate that is going back when France is a major third. The, uh Okay. So? Well, I believe that is the way that is the herself. And it is the 15th 16th 17th fret 17. Front is the minor. Seventh, right. Good. Well, way back, friend under six on the third. Fret. Yeah. Spin the wheel. Sounds like it's part of a chord. Kind of like it fits in perfectly with the court, but it's not Major. Must be the minor. Third liner. 3rd 10th fret. Let her 3rd 10th from, uh, spin the wheel. That's on the six. Well, 14. Perfect fifth on the 14th. Fret right there. Thats major. Seventh on the sixth Fret so smooth. Okay, Will, Yourself again. Sounds just like 17. 18 18 Major self. It was pretty crazy, huh? Wheels will weigh 66 on the third. Fret will. Seriously, Major. Seventh again. Major. Seventh on the 18th. Fret Got to get away from that major seventh. Okay, that was a little hard for me to hear. Think I think. Major second. Yeah, that is a major second because So, um 17 18 1920 2120 first fret 15 16 17 18 1920 21 on 21st friend. A major second. Just, uh, a little harder here because it was up so high What we got? All right. Good. Like the challenging ones. Thats a major 6 16 Free Joe. Good way the like. It wasa suss for Cory wants to result Major third, uh, it's the perfect for here. Well, well, six 36 The perfect fit. So under six third fret 14 to go Can I do it? Race? Will the want to froth Teoh? Oh, right, we did. We got another 20. A whole different key, so not bad. So that is how you play the game. So if you want to go back and watch that kind of pause in between and don't check the press that I was on, um, you could actually do this a lot faster without having to do that. Ticks. If you have a baby, just a pattern piece of paper in front of you, you could do it even faster. But that is a great way to go through playing the game. So we're doing really good. We change keys to keep d. And sometimes just cause you had 20 doesn't mean you stop. Sometimes there are certain pitches that you didn't get, Teoh because we you know, I hit a lot of the same pictures. I know. I had that major seventh a few times. I hit the six major six a few times. Um, so, yeah, if you miss out on a couple pitches and maybe a good idea to kind of go to them. Like, for example, I e. I was kind of hoping to get some pitches just cause it's good practice for my ear, but I never get the minor second que de seconds, And is there anything else that we maybe didn't get? Uh, I think maybe got made. You threw way get the major third kitty third. So if there's certain pitches that we missed out on, you want to make sure that you get them, just go through them and get them again. Sometimes you may have just play the game, spin the wheel, you know, 40 50 times to make sure you get every single pitch because you keep on doing the same pitch a couple times. Just randomly. Luck of the draw anyway. Great job. It's a lot of fun. We're changing. Keys were still Mel it. So that's great. And I'll see you in the next video 11. Sing to the Pitch (page 12): All right. So I hope that watching me play the game made sense to you and wasn't too frustrating. I know that. What? I was learning how to do your training when I would see other people who could do it so easily. It was pretty frustrating for me. So I'm gonna give you some more tools to help you to learn the pitches. And the the first tool that we've already discussed is seeing. And, oh, as you know, because you've already hurt me in the last few videos when I played the game, I not a good singer. I'm not somebody that has a pretty voice. But I could still sing the tones. I could see the pictures. So and that's all I need to build to do. And that's what I want you to do is to practice singing to the pitches. You don't have to sound great. You just have to be able to hit pitches, okay? And so the two things that we're going to practice to be able to seeing the pitches are the major scale in the chromatic scale. Okay, so we're just going to play the chromatic scale up the a string and we're going to match it vocally. Okay, so just go. I say, Do you could say anything? Anything you want, you say vowel that you like, But I do know way good now playing and singing its way Really good. Okay. And so this is something that I do when I am trying to figure out with pitches is that we'll sing it either out loud, well, singing in my head But practicing singing a little bit helps to be able to do this. Let's go through the major scale again on a string. Um, we're doing this guy up here. And so I just wrote the tab out. And then we've got the animal's throat major or courage. Good. This time I want to sing ahead of be guitar. I'm trying to sing the next note before I played on the guitar to see how close I am vocally. Okay, so first let's match up with our relative pitch and do you we'll try backers. And when I play the note on the guitar, if I'm a little bit off, I just correct myself, OK, if I'm trying to get as close as I can to being what The guitar note is, if I'm a little bit off, that's fine. I scratched myself. Let's do it backwards, Dio, right, That makes sense. Now let's go through singing from Attic Lee. OK, And by the way, these air good vocal exercises. If you are a singer, if you like to sing, um, this is a good way to warm up your voice. So let's go through the chromatic exercises. Now we're gonna do the same thing. We're just gonna go one friend at a time because there was a lot of times where when I was trying to figure out the pitch and I would just sing one friend or two friends at a time. Climatically. And so this is chromatic. Singing is a huge benefit, all right, schooled dramatically So And I am trying to sing ahead of the note that I play guitar receive. I'm helpless. I see if I could get it right. Way Brave backers way seem to be pretty sharp on the way Going backwards Last Dio dio Well, that's pretty tricky. All right, chromatic singing. That's a good good exercise. Now, when we were using this for the pitches and as you can see, I'm not that great at it. I can always improve. I need to work on my by singing a little bit more. But when we were doing it to try to find a pitch, we usually only had to use it about one or two chromatic notes at a time. So what we're doing here is we're going up the entire active, which is great practice. It's really good for our year. It's good for our minds for voice. Okay, um but when we're actually using this to try to identify pitch, we only have to go about one or sea frets climatically but just going up all the way. This is a great exercise. So practice this gold chromatic scale and and down chromatic scale a Senate and descend. It's just as importantly, descended on and then do the major skills well, and this is going to really help you to find a pitch because you're not allowed to look at your guitar. So singing is one of the few tools that you really have got. Okay, we'll practice this and I'll see you in the next video 12. Pitch Associations (page 13-14): all right. At this point, we've gone through every interval many, many, many times. We've done a few different keys. We've proven that the key doesn't even matter what key were in. Um, and we talked about associations. We've talked about singing to try to get to our note. I want to talk about associations a little bit more. Um, at this point, you've got it. Arsenal tools at your disposal to use defines that to find the interval. Teoh, identify the pitch. Um, but if you're having some issues with a couple of of a couple of intervals that I want to encourage you to use any means necessary to be able to identify those last remaining pictures Andi So what? I mean when I say use any means necessary? What? I mean, if you can imagine a melody Were a song any any little jingles where you hear these note combinations? That's what you want to think about. Okay, um and so we've talked about even even kind of having an idea of where you are on the fretboard may help you. That's fine. Because if it helps you to hear it, I mean, if you start saying I'm here, So I think it's this and you haven't be correct. Um, that may be partly Look partly, you know, finger placement. You know where you are, but at the same time, it will help you to memorize that pitch because, you know, the association will help you to memorize it when you go through some of the pitches and just nail down any last minute associations that I can help you with. So we're back in Kiev. A on is our time, and I won't look at the intervals on the D string. So obviously we have in our our thistles are the 1st 1 that popped up. And I don't know if I mentioned this before. It's the major six major six is on the fourth. Fret, this'll one. I always hear it going back to the perfect fifth way. It always goes back to the perfect fifth. Now I hear the minor six doing the same thing. Uh, the eso the minor six and the major six both resolved to the perfect fifth. To my here, you may have a different association, but this is what works for May they both go back to perfect perfect fit. You may be saying to yourself, Well, I still don't know the perfect fifth. I don't have it. Don't have it in my head yet The perfect fit is directly from our court. It's the note where if you were gonna mistake any note for being the active, it would be the perfect fifth. So, for example, if I say was this, you may say you think it's the perfect fifth? It's actually the octave Aziz the octave Let the perfect fit Eyes is the next strongest note. It is an extremely strong note, extremely supportive of the A note. So here is holding up that, you know, and it is one of our does from the court that perfect Fifth isn't are a major court. Also, in our a minor court way have the same perfect fifth in both a major and the minor. It's that strong holds up the major in the minors. So the perfect fifth on here it appear also, it's so strong you might be mistaken for so the two intervals that you want to absolutely nail are you want Teoh obviously active and then get comfortable hearing that perfect fifth is It's the second friend. And then it's Steve 14th. Fret on way. One of the questions you might ask yourself is, it doesn't sound like it's from a major scale. Yes, does it sound like it might be from the major chord, cause it sounds like it's from the major court, Then it's either going to be the octave or the perfect fifth or the 3rd 1 of the thirds the major third, if it's from a major court and the major third sounds good. Major third sounds really confident. It sounds different kind of difference out the major third is like a three blind mice, three blind mice as and so just walking down Major. Third is your second Teoh. I always hear three blind mice when it's the major third, but it is the perfect fifth. I just hear this supporting tone that is holding up the cord. Even though there's no court going on, there could be I hear how it could be a cord. I hear all these possibilities. I just hear this supporting tone. That's how I know is the perfect fifth. So when I hear this, I just want to go back with friends, noticed minor 6 30 this first. Uh, that sounds like it's from the major scale, but it's still lost to go back. Teoh, you want to hear This? Just sounds really nasty. That is the way way. Also here that need to resolve a few other places. We hear these results on the major seventh. So the sixth fret. Um, major Seventh wants to go up. One more fret resolved. Teoh. I also hear that on the minor second. So minor seconds on the eighth. Fret back one Frank to result Teoh back. Um, the major sort, The minor seventh, the minor seventh was another one that gave me some problems. This one is different. Seventh, it is extremely common. Interval. Um, it just is, is there's not one fret next to it that it wants to result to To my here. It wants to go up two frets friends to get back to the O and the, um, the major second major, second major second making view of our time. Um, but it's just a second. No way. The I think the last one that I would say give me a problem and seems to have a lot of people problem is that perfect? Fourth. Okay, perfect. Fourth is are open D string. You know, if you play an open D string, you know you're playing perfect fourth, cause you could press anywhere. But if you come off and you hit it on the front to me the way that I finally got to where I could hear the perfect fourth interval And again, this is the reason I broke into that explanation about the inversion property on the several offense. Another may have sounded a little, uh, music theory ish, but it's speak. There is an inversion property that perfect fourth and the perfect fifth can sound like one another because of the way the music is itself. And this is a prime example of it. Perfect. Fourth getting difficult to hear because thes two notes If you look at it reversed, it could be like the, uh is my open a string note or my tonic is the 12th right here. So that is one of the kind of a paradox of music of intervals. Don't don't worry about that too much where I just said, But the way that I associate fourth is that it sounds like a sauce. Four chord. So, like a face US four. Sounds like this was a result back. One note, I think. Theo. Back one way on. I hear in my head goes back. One friend I know. It's on the major 3rd 3 blind mice. You know that worse. Okay. And, um oh, you know, I've got what we're for you. The minor. Third, the minor third. So the minor third is a tricky one here on the froth. It doesn't do three blind mice, but it wants todo still wants to walk back through. Was the minor scale. It wants to go to that active. It sounds like it works really nicely with what is super minor sound. It doesn't sound like a major, so that is the sound of a minor third. Okay. And I think that about covers, um, over intervals. Um, yeah, that would do it. That would do it. So you are in great shape. I can't believe how much progress we made. I want you to go back and start playing the game and then start putting the game in in different keys, just shifting the strings. And, um, yeah, I don't want you worry too much about the fact that we're just climbing up on one string. If you've been working on a lot of shapes, scale shapes and block shapes and go thru mode shapes and arpeggio shapes and all that kind of stuff when you're here is working. Your ear is not thinking in terms of your instrument shapes is just hearing the pictures. So you're going to hear these pitches even in your box shapes. OK, so this is going to work. This is going to work for all the stuff you're playing on your instrument, your guitar player. So this is really going to help you for your instrument. So you're doing great work on your associations. And if you got your own associations that are going to help you, like I said at the beginning, use any means necessary to get the final intervals so that not all 12 you're really comfortable in all 12. And if they're certain ones that are hard for you really work on playing, play them extra, go right to them and play them extra, take a break, come back and play that just trying to get in your head trying to sing it If you can sing it, you can hear it. Okay, So that is one of the tricks with your training is that if you can sing it, you can definitely hear it because you wouldn't be able to sing it if you could hear it. All right. Great job work. We are wrapping up and winding down. So I will see you in the next video. 13. Going Forward (page 15): well, you made into the end of the course. Congratulations. Well done. You did really well, That's excited. And this is going to mark a whole new journey for you. You're going to be looking at the musical world through different years from Ellen. And I really expect this to change the way that you play the guitar the way that you listen to yourself playing guitar the way that you are able to listen to other music and interpret music and write music, this is going to be a really wonderful thing for you. The way the interact with other musicians is going to be really, really great. If you're jamming with somebody, have you ever felt like you were just staring at the fingers to try to fall along with what they were doing? This is going to change that for you may not have to do that as much. He may be able to use your ears and just concentrate on your own playing. It's still full of along with somebody else just by using your ears. Okay. I wanted to mention a few things before we wrap up going forward. Things that you should do number one. Watch this course again, or at least go to the parts of the course that you feel like you didn't get 100%. Because the goal here is to get 100%. We least want to get 1% of the pitches, which is all 12 pitches once field to identify ultimate pitches. When you play the game, well, you want you to be able to identify all 12 pitches every time you play the game. Okay, So when we did the game, we did 20 times. But if I kept going, I should be able to get 100 out of 100 Right? Should be able to get 1000 out of 1000. Right? Um, unless maybe I just started falling asleep. But I just, you know, But I should be on to just keep getting them right, because I know I just know that I'm not getting lucky. And I'm not guessing in the beginning it may be a bit of uneducated Guess, but then you get to the point where you hear it. You just know you know exactly what this so keep playing the game to get all 12 right? And that would be a massive, massive success for you. Okay, so watch this again. Go right to the parts of the course that you feel like you need. Teoh. Improve off change. He's OK. Change. He's the first time we played the game. We did in the key of a the second time dropped down a string we did in the key of D. You can keep doing this. You can do it. The key of the lone E and the ace tricks of the Loki in the a strain which would be in Kiev . E you do it in that key, you could do it in the B string in the high Eastern, too high strings and that would be in Q B. All right, that would all work exactly like everything we've done before. If you use the G string and the B string, so be string. We're going to have to go up. One more fret to get to the interval. So, for example, if I play the G string, play the game, that's what the G string G now. And if I go to the B string, that's going to be by major third, so I have to go to the first fret. My perfect fourth. So everything is going to be raised up. One fried. All the intervals are gonna be raised up. One fret just for these two. Just for the set. The G string in the Bistrica. Okay, so the intervals are up. One fret on the B string, but everything else is just like waas. The to high strings are normal. The two middle strings, the D and G normal the and obviously your normal T low strings are normal, just like we went through the course. So change the keys. It's really good for your here to change the key. You'll hear different key. The pictures will be different, but the intervals will be the same. The distances are always going to be the same. That's what intervals are just distances. They're always going to be the same if you know the okay, so change keys. Um, number three. There are software's lots of different Softwares. Free little APS. Little absolutely can do pitch training, your training, your recognition, fish recognition. And some of these are better than others. I've used them and they're fun to do their helpful. There a good way to continue to practice your pitch recognition. I wrote down the word Tambor here. Okay, It looks like timbre. T i m e r e. It's pronounced Tambor temer. Okay. Tambor is one of the qualities of music and timber is the difference between hell guitar sounds when it plays in a dome and the way a saxophone sounds when it plays the same a note you can tell one's a saxophone in what is a guitar, even though they're playing the exact same note and help you know when it plays a note it clear. And as I level when it plays the exact same frequency of the I know, you can tell all of these instruments or different instruments because of Tambor. That's what Tambor is this one of the qualities of music that makes us able to identify different instruments even though they're playing the same note, the same frequency. We can tell there different instruments because they have different tambor. Okay, so when we're practicing all this stuff on our guitars, this is really good experience for us as guitar players, because we're going to understand the pitches are guitar now. This is of course, going to spill over to other instruments, but we'll have a little bit of a harder time curing that. The pitches on two different instruments because of Tampere. So just keep that in mind if you're able to get 20 out of 20 or 100 out of 100 correct on your guitar. But then, if you hear Samarra little piano or a saxophone, you have a difficult time hearing. So if them don't be too frustrated by, that's normal, Okay, that happens to me sometimes, too. It's because of Tambor, and the instrument just sounds completely different. And so it may just have a little different to our here, and that's normal. That's because of Tambor, that being said, when you get the after the software, is that help you to do pitch training, pitch training games? Your training? Well, a lot of them will be these tones. You know, these digital towns, BBB BBB, and it doesn't sound like a guitar, so that could be good experience for you, but just it'll sound different from your guitar, and it may sound completely difference and may not be as good at the digital beeps as you are. The guitar the best use of your your training skills is as a guitarist, because that's what you play. So you wanna be also at getting the pitches on your guitar. If you're not, is also among beeps. That's okay, because you don't play beeps. You play the guitar, you need to know the pitches of your guitar. But the beeps that's good. If you could get the intervals in different instruments, that's great. It just makes you even stronger of a musician. Okay, and then, lastly, listen. Listen to the birds. See? See if you can figure out the ability of the bird that's flying through the air singing or see if when you're listening to the radio, are you listening to assault your ability or the singer or you're a solo. See if you can just here and imagine what it would be on the guitar. What were those pictures? Be just here. A few of them, and see if you can figure it out and then grab your guitar and tested. See if you were right. Okay. And if you keep on practicing this, you're going to get to where you can hear something and grabbed a guitar and Instead of hitting a bunch of nose and fumbling around, you will be able to play it just like you heard it for the first time just a second ago, you'll be able to play it exactly on your guitar, and that's pretty awesome is very awesome. So thank you so much for going through this course with me. Hope you have fun. This is like I said, kind of a superpower that you can have is a guitar player. Now you've got it where you were, at least on your way to mastering it. So keep working on it. And thanks again for going through this with me, and it was a lot of fun. I'll see you next time.