![]() The slower the frequency, the lower the note, and the higher the frequency the higher the note. Rather than naming them by frequency numbers, we give them letter names (C, D, E, etc.) or syllables ( Do, Re, Mi, Fa… or Sa, Re, Ga, Ma…). However in music we tend to limit ourselves to certain sets of vibrations known as pitches. Technically, an interval is the difference between the frequency of two vibrations. Scientists call these Hertz (pronounced “hurts”). Sounds vibrate at certain frequencies that can be described as vibrations per second. Let’s look more deeply into what intervals are, how we can learn them with interval ear training, and what we can do with them once we have mastered interval recognition. That makes them important and well worth training your ear for. Wherever two sounds are present in music, so are intervals. ![]() Long story short…You don’t recognize intervals in real music because they sound extremely different from how you hear them in isolation (during your intervals ear training practice).Interval Ear Training is an essential part of learning music – but it’s often underestimated and overlooked! Just like how the sky and tomatoes look different depending on the situation, so too can the sound of intervals depending on the musical context!Īlthough it’s still the same interval (theoretically speaking), it assumes a lot of extremely different sounds depending on the tonality/scale/chords being played. This is the big issue that most musicians aren’t aware of: It’s because these things are independent from their colors, in other words - the color may change, but what it is remains the same. The same goes for tomatoes - when unripe they’re green, some varieties are yellow, etc.Īnd yet we still recognize what they are, regardless of color. ![]() Let’s explore the “sky & tomato” analogy a little further to really uncover the big problem with intervals ear training.Īs we know the sky doesn’t always look blue - when it’s cloudy we see gray, at night it appears black. We need to start understanding sounds the same way we understand visuals - intuitively and instantly. When you see purple you just instantly recognize it, there’s no need for a series of clunky thoughts and calculations to get there. When you look at a color, do you think to yourself: “hmm… well that color looks like a mixture of the sky and a tomato, and I’ve memorized that the sky is blue and a tomato is red so… red + blue = purple, AHA! I’m seeing purple!” If this flaw isn’t already obvious enough, let’s make a quick comparison. This might work for one interval in isolation, but what if you’re trying to figure out a melody with five or more notes (like most real melodies are)? Are you seriously going to recognize all those intervals by humming a different reference melody, for each one, in real-time? Good luck with that. ![]() Typical interval identification exercises are totally impractical, there are at least 5 big issues with the interval method, but let’s examine just one:ĭo you use some sort of reference melody to help you remember certain intervals - like a famous melody perhaps? How can you expect to recognize intervals or chords in a real musical situation if you only ever practice one interval at a time in total isolation with no musical context (meaning - no accompaniment, no chords in the background, no musical key being established, etc.)? It’s not possible. ![]() Interval ear training exercises - does it make sense? This means: the same interval (let’s say an “ascending major third”) can sound extremely different depending on the harmonic context it’s in.Ī little confusing? Keep reading and all will become clear… Moreover, the interval method neglects the fact that our perception of musical pitch is context-dependent. This is because the interval ear training approach is centered around a very cumbersome thought process. Traditional music interval training actually hinders your ability to intuitively recognize the notes and the chords, like great musicians do. You may have used various ear training sites or apps to practice some kind of ‘intervals hearing test’, but even if you get really good scores, it’s not going to improve your musicality in the slightest. The isolated nature of interval-based ear training doesn’t prepare you for real-world situations. Unfortunately, interval ear training will never help develop your musical intuition, which is essential for playing by ear and improvisation. Does interval ear training help you play by ear? ![]()
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