- Okay, how's it going guys?
Julian Bradley here,
welcome to another episode of Everyday Ear Training.
Now in this video, I want to answer the number one question,
that I got from the last video,
which was, "How does your One Key learning method
"work for ear training?"
So in the last video, I was talking about
how I always transcribe every song in the same key,
which happens to be C minor
and that this gives me a crystal clear picture
of how music works, how harmony works,
because I have a database in my head
of literally thousands of songs,
that I've transcribed over the years
and they're all lined up in the same key.
(keyboard music)
So by doing this, it really teaches you
the common patterns very quickly,
the common core progressions, the common base lines,
the common melodic shapes and over time,
you just get this crystal clear picture
of how harmony works,
so I got a lot of questions about One Key learning,
"How does it work?"
"Does Julian have perfect pitch?"
"Why don't we just use numbers?"
So in this lesson, I'm just going to address
all of these questions and I'm going to show you
how you can use this method for yourself
to get a crystal clear understanding of harmony.
(light electronic music)
So first things first, do I have perfect pitch?
No, I don't have perfect pitch, I had to work for my ear,
I earned it, I have relative pitch,
although I actually have
what I like to call perfect relative pitch,
just meaning that I've trained it to a near perfect level,
so I had to work for my ear, I'm very proud,
it was a very special journey for me
and in fact, I think it means a little more to you,
when you do have to earn it
and you have to work hard for it.
So a lot of people were saying,
"Surely he has perfect pitch,
"because he's saying note names, he's saying"
C, G, B flat, C,
B flat, G, F, G, C.
G, G, G, G, G, G, G, C.
"So surely that means he has perfect pitch?"
Well no, I was just listening to the music,
assuming that it was in C minor,
even though I know the odds are that it's not in C minor,
I'm just assigning a key to any piece of music,
that I listen to, so I'll listen to the song
and I just say, let's just assume that this is in C minor
and I don't have my instrument on me,
because most of the time,
you don't have your instrument on you,
when you hear music played
and I'll transcribe it, I'll come up with a theory
and then when I get home later that day,
if I want to test that answer,
I'll go to the piano first thing and I'll play the notes,
that I had in my head, which were all in C minor
and I'll end up playing the song in C minor,
(gentle piano music)
and you keep doing this over time
and you end up with hundreds, if not thousands of songs,
that are all transcribed in C minor.
Now after a few months of doing this,
you get fairly confident that you know what you're doing
and you start spotting the recurring shapes and melodies
and core progressions and the common patterns
and you'll reach a point,
where you don't even feel the need
to test your answer at your instrument,
so you just know with 100% certainty,
that you're hearing the same four-chord progression,
or the same pentatonic melody and you'll just reach a stage,
where you don't even feel the need
to test your answer at your instrument.
(light electronic music)
So several people asked me why don't I just use numbers,
why do I have to say that we're in C minor?
So instead of saying G, F, E flat,
why don't I say natural fifth, natural fourth, minor third?
Well first of all, it's a lot harder to say
natural fifth, natural fourth, minor third
and secondly, it can get confusing
whether I'm talking about intervals or scale degrees,
because intervals and scale degrees use the same numbers
and we're doing both in Ear Training,
sometimes we're listening to an interval
and other times we're talking about which scale degree
we are in the scale, so for these reasons,
it's just easier for me to use note names
and also that's just how I think,
I naturally am just thinking in C minor,
so I'm just thinking G, F, E flat,
instead of natural fifth of some abstract scale,
natural fourth of some abstract scale,
minor third of some abstract scale.
(light electronic music)
Now, not all music is written in one key,
I would say about 95% of music is diatonic,
which means it's written in one key
and really that's most of the music
you're going to hear on a daily basis,
whether you're at the grocery store,
waiting in line for coffee, going to the gym,
these places are going to be playing diatonic music,
but some music is modal,
like the Dorian mode, the Phrygian mode,
so what do we do for these types of music?
Well, when you get a mode or different type of scale,
you line every scale up from C, so you're transcribing
C Dorian, C Phrygian, C Mixolydian,
(piano pop music)
and then sometimes you get the harmonic minor scale,
again, line it up from C,
(piano pop music)
so yes, you do sometimes get some pieces of music,
which you aren't going to transcribe in the key of C minor,
E flat major, but for these pieces of music,
you just line them up from C
and really that's the bigger picture of this method,
is that you're lining everything up from C
and then later on, once you've learned everything from C,
you can just transpose it all out
into different keys from there,
but I suggest that you line up
everything in your head from C,
you learn everything from C,
because that's how you avoid confusion in music,
most musicians are confused about music theory,
simply because they play in all 12 keys,
they can't spot the recurring patterns,
but most music is using
the same recurring shapes and patterns
and the only thing changing
most of the time is the key signature.
(light electronic music)
So that's it for this episode of Everyday Ear Training,
I hope this answered your questions,
if you have a question,
please post it in the Comments below,
I'm going to be using your questions
to guide me with this Everyday Ear Training vlog,
so just post your comment below,
that's it for this session and I'll see you next time.
And if you'd like more information on ear training,
you can go to TheMusicalEar.com, it's my website,
there's a ton of free information,
you can go through my free video series on Ear Training,
which shows you how to practice ear training the right way
and how not to practice ear training,
you can also sign up for Ear Training
email tips from me, these will be weekly emails,
which challenge you to transcribe songs by ear
and of course, if you'd like to take
my complete flagship course in ear training,
which is The Musical Ear course,
you can sign up for the Wait List at TheMusicalEar.com
and I'll notify you be email, when I next open enrollment.
So, that's it from me, thanks for watching
and I'll see you in the next session
of Everyday Ear Training.
(pouring rain)
(light electronic music)
For more infomation >> The Final Day of the Here to Hear Tour | HERE TO HEAR TOUR #34 - Duration: 11:26. 
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