Ear Training Course for Guitar: Intervals & Chords

Practice That and Become Great at Guitar Playing | A Music Lesson You Don't Want to Miss (Ear Training ... Music Lesson You Don't Want to Miss, Book 3)

By: Julia Whitlock

Narrated by: Sarah Duarte

Length: 18 hrs and 14 mins

Publisher's summary

Hi, fellow music lover! Congratulations on starting your music-making journey. I won't waste your time with a long introduction, but let me say a few words just to get us off on the right foot.

Ear training is one of the most rewarding skills you can develop, and it’s one that you can work on every day. Which makes total sense: music is an aural experience, after all. Ear training helps you turn the music you hear into music you make on your guitar. This works for your own musical ideas, too: when you dream up a great riff or chord progression, you naturally want to sit down and play it right away. Ear training helps you do just that.

This lesson is broken into several chapters, each of them focusing on two to four related intervals or chords. There are plenty of examples for each interval and chord, so you can work straight through the lesson or hop around as much as you like.

The last chapter is a sort of final exam. It brings together all the intervals or chords we’ve covered and mixes them up for an extra challenge. But you don't have to fear that chapter. Just give it a go every once in a while to measure your progress.

Best of all, this lesson doesn’t limit itself to dry theory: every concept we discuss here is played on a real guitar by a real guitarist.

Have fun!

What's inside:

• real guitar recordings throughout
• all intervals from prime to octave covered
• well chosen interval comparisons, eg, fifth vs. fourth, minor second vs. major seventh.
• all triads, ie, major, minor, suspended, augmented, diminished, covered
• all commonly used seventh and ninth chords, eg, major 7, minor 7, major add 9, dominant 7, minor major 7, minor 9, minor 7 b5, covered
• well chosen chord comparisons, eg, major vs. minor, major vs. Sus.
• 10+ hours of interval recognition
• 8+ hours of chord recognition
• nice and encouraging female narrator

PLEASE NOTE: When you purchase this title, the accompanying PDF will be available in your Audible Library along with the audio.

©2021 Julia Whitlock (P)2021 Julia Whitlock

All Correct In Here

I studied music a few years ago and got myself this ear training course (and others) as a refresher. Plus, it keeps my ears fit, I thought.

First off, everything is correct in this book. I double-checked a few examples where I wasn't 100% sure myself, but I can't find anything wrong.

I like the concept! It might not be for everyone, but what is? There is not much explanation. I appreciate that. It's not a music theory book, after all. You get plenty of exercises to train your ears. Perfect while you're driving and can't really do anything else. The last mix of all intervals is my favorite, but the other chapters focusing on just a few intervals at a time are well put together.

The second book focuses on chords. You get the same mixes of two or four chords e.g., major versus minor or augmented versus diminished. The last chapter is a mix of all chords covered in this book. This is again my favorite.

Conclusion

I have good knowledge of music theory, and I simply wanted to have a collection of ear training exercises for my commutes. Exactly what I got here! I'm glad I used my monthly credit on this one, but I wouldn't hesitate to pay for it.

Errors in naming intervals make it unusable

I thought this would be great for my commute but after spending a lot of time with this I started to question if there were not considerable amounts errors in the editing of the book. An interval is played with each string plucked separately then together followed by the verbal answer. I started to notice that the same tones are sometimes given different interval names. Such as a minor 3rd called a major 3rd one time then later called a minor 3rd. When I checked on the guitar itself against the recording it appears that the tones are sporadically misidentified. At that point I stopped because you don't want to spend hours drilling only to teach your mind incorrect interval recognition. It's sort of the point of the whole book and I think whomever edited it together may have become less careful. After all it's not easy to error check without listening to it. I have noticed errors like this in other books on music theory and it's really important for it to be perfect. I can't trust this book to continue further with it any further since relative pitch is all about creating a memory of recognized sounds and if you learn them wrong youre in worse shape than before you started. I wish I could trust it because the way it's constructed is perfect for drilling but it must be error free.