Welcome back to the continuation of the frequency training series. For the next 5 articles, we will expand, break down and analyze this topic in much greater detail. For those who are just now joining us, let me say just one thing:

Stop! Do NOT read any further!

As a matter of fact, go back and first read the introduction overview to frequency training. You’ll need the background information! Trust me, it’s not filler, and will save you much unneeded frustration! Go on…we’ll wait.

From this point on I’ll assume we are all caught up. (The beauty being, you can always go back and re-read and review….remember, no one is chasing you here. Work slowly, at your own pace. I’ll probably repeat that at some point in this series, so I ask your forgiveness and understanding ahead of time!)

Last time we left off with an overview of the nature of sound, and more specifically, the way it is measured (frequency, measured in Hertz, or Hz). Along with this, were some “must know” basic frequencies with exercises for recognizing and identifying them.

Reference frequencies

Briefly now, let’s take one tiny step back. (I think now is good time to revisit this.)
I always have, and still do recommend that you find whatever reference frequencies you are comfortable using as the anchor to your training….BUT…. Click to read the rest…

As I mentioned in my previous article, How to Approach Ear Training, my current approach to practicing ear training is modeled around my same approach to practicing my instrument. Whatever your instrument is, you know the importance of a warm-up routine. Besides the obvious intention of getting “warmed-up,” as in a mental and physical preparation for playing, one of the great advantages of a well-structured routine is the application of fundamentals.

For example, my primary instrument is the trombone and I have focused my warm-up routine on fundamentals of brass playing. The idea here is to get as much out of these exercises that I can and, furthermore, to choose exercises that will benefit multiple aspects of my playing. When I go to practice the trombone, I start by playing on just the mouthpiece, without the rest of the instrument and all the extra stuff it requires me to think about. Besides being an excellent way of getting all the facial muscles involved with playing warmed-up and ready to play, it’s also probably the most vital exercise for tone control, tone quality, flexibility and range. It’s a chance to focus on the very basics of brass playing. I could go on through my other warm-up exercises, but you get the idea. This same tactic, though, can be applied to ear training.

Practise listening to long notes to warm up your ears