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@@i-is-alive - Color hearing gives me an advantage in DJ’ing… Most DJ’s rely on the computer to tell them when two songs are harmonically compatible to blend/mix… I can listen to it and know. So it doesn’t take me as long to mix in key. The second phase of David Lucas Burge’s Perfect Pitch Supercourse is where the practitioner begins to solidify their color hearing.

@@jetdeleon I mean like by which Masterclass do the second phase starts?

@@i-is-alive - Phase 2 starts around Masterclass 14 - where he uses the analogy of "the ice melting" to explain what happens when the ear starts to make the phase shift into color-hearing. But don't skip ahead… your inner ear needs to undergo the preliminary exercises so that in can be conditioned for phase 2…. there is no shortcut.

@@jetdeleon Thanks, I'm close❤️

Haha… thank you friend! If the rules stated that I couldn't eat until I get them all right, I would have starved too! lol

I suppose you could experiment with sine waves if that's something you're interested in. For the most part, if you're a musician who plays standard musical instruments, it's advisable to do the exercises with the instrument that you primarily play.

Although we recommend practicing around the middle registers of the keyboard, it's only because that register is universally the most familiar and comfortable to the human ear. But the pitch colors themselves don't actually change when you move to a different octave. The "C" sounds like a "C" whether it's C2 or C4. It just has a different "tint" that makes it seem "lower" or "higher"… other than that, it is still the same exact color.

Hey there… I was about 23 when I first started training… but I fluctuated off and on for many years because I was impatient and tried to rush the process… and as a consequence, I wasn't getting the results. So I share this in hopes that you and others can avoid the mistake I made. It doesn't have to take as long as it took me if you are patient, relaxed, and consistent

hey there! I've been swamped with work but I'm hoping to pick up where we left off in the next few weeks. Honestly didn't expect such a positive reaction to my ear-training videos.. so I will try to prioritize its continuation in order to help you and many others who have requested more videos.

Hi BigDaddyMIZU - Many of the color-hearing drills can be done with your saxophone alone. However, to do any type of "unlocking" exercise, you do need something that plays chords so that your ears can get accustomed to distinguishing between individual tones when played at the same time (aka harmonically). You can even use a cheap toy keyboard like the one I'm using in this video… as long as it's in tune, it will work.

@@i-is-alive - It’s a huge course. And Being a very impatient college student, the size of the course overwhelmed me… I skipped around, practiced sporadically at best, and didn’t follow David’s instructions exactly. Consequently, I didn’t get the results and of course became discouraged. Over the next few years I would revisit the lessons but never fully committing to David’s instructions because I was so impatient. Once I finally committed to following David’s lessons every single day (and learned to relax and not frustrated), the color discrimination started to become clear… (about 6 months or so).. It’s hard to pinpoint the exact moment that the aural recall became clear, but I would say that somewhere between 6-9 months of daily consistent listening and practice is about where the recall became increasingly accurate… definitely worth it because it improved my singing, my ability to learn music quickly, and even improvise. Please let me know if this was helpful

@@jetdeleon Thanks alot, you've been the person I've been searching for. I'll practice daily and calmly❤️.. i might've some questions along the process to ask.. looking forward to your help.. You're great

@@jetdeleon Is it ok to assign any name to the tones, like i use solfege to name the tones and i also use solfege to name the relations of notes in relative pitch training, is that ok or will it overlap?

@@i-is-alive - It hasn't been a part of my own practice, but I don't think it would do any harm as long as your are listening into every tone as instructed in the drills.

@@i-is-alive - It hasn't been a part of my own practice, and though it isn't necessary, I don't think it would do any harm. But please remember that training for color hearing is not an intellectual exercise. It's all about spending time to become intimately familiar with the finer qualities of each note. Assigning names to them will not do that for you… only Listening does.

Exactly like you said hehe

Good job Kevin!

Hmmm…. you could be right… keep in mind these numbers are not isolated intervals. They are the degrees in the major scale from 1 to 7 (with sharps/flats in between).

Good question! Yes… there is a "home tone" for each chord. But there is also a "home tone" for the entire song (aka the Key of the song). In the video example I start by singing the root note of each chord (2, 7D, 3, etc.) - Each of these numbers are a degree within the major scale… and they are also the root of each chord in the progression. I hope that makes sense. Highly recommend checking out "Improvise for Real" by David Reed for a more in depth study and explanation.

Thank you! To the best of my memory, I do believe I credit David Lucas Burge somewhere in one of my videos. And I’ll probably mention him again if I make any more.

​@@jetdeleon Great! I hope you make some videos on the subject again.

Yes that is ok. Remember the most important thing is to listen deeply to each individual tone in a relaxed and enjoyable manner.

Yes.. In the beginning, it is very helpful to stick to one practice instrument (or timbre). Just remember to listen for the pitch color. So if your primary instrument is the piano, you ear will already feel comfortable with the timbre of the piano so that it can stay relaxed while you practice the color-hearing techniques.

Great question! Yes - in this drill we are comparing the pitches to the A major chord… so it is relative. Remember, we're not trying to block relative pitch. If you find that you need to use relative pitch to recognize the pitch, that is completely alright. Eventually you will begin to recognize the pitch colors with or without a relating note. The key takeaway is that we also listen for the pitch color. Even as you hear the relationship, you will begin to hear the individual pitch color/flavor as well. Hope this helps!

Great question Rod! - You know how when you meet a new person and you start spending time with them, you start to recognize their voice? You don't even have "try". Yet the more time you spend with your new friend, the more you start to distinguish their voice from everyone else you know. If you can do that at your current age, then I do believe you can learn to recognize the 12 tones and distinguish them from one another.

Thanks, I'm glad you enjoyed the content!

As long as your practice instrument is properly tuned, you are hearing the right thing. The following is more than worth repeating because it is so crucial for development: *** Relax and let the sounds come to you… The moment you try to “get it” it will elude you… Think of a cat… what will a cat do if you chase it? It will run away… It’s the same exact thing with our color hearing technique practice… the best thing to do is take it easy… We never try to force the ear… the correct approach is always Easy Listening… The more we listen and appreciate the sounds in a relaxed manner, the more our ear will naturally begin to absorb the fine qualities of each tone… So approach every practice session with a childlike curiosity and really spend time with each note… enjoying and appreciating them in an easygoing manner… like getting to know a new friend… we never force it. I hope this helps… keep me posted on how it goes… I’d love to know how you’re doing later down the road.

@@jetdeleon I really appreciate it 🙏

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