What you'll learn:
- Notate rhythms by ear in 4/4, 3/4, 2/4, 6/8, 9/8, and 3/8 — including rests, ties, 16th notes, and triplets
- Identify every diatonic interval by ear, both melodically (one note after another) and harmonically (both notes at once)
- Take melodic dictation — hear a phrase and write it down accurately
- Distinguish between commonly confused interval pairs (the ones that trip everyone up)
- Use proven recognition techniques: familiar melodies, colors, numbers, textures — whatever sticks for your brain
- Understand what Perfect Pitch actually is (and why you don't need it) versus the Relative Pitch every working musician uses
- Build a daily ear training practice with hundreds of exercises and answer keys
You hear a melody. You want to play it. You can't.
Or you can play it, but you couldn't tell someone why it works.
Or you can tell them why — but if I played you two intervals back-to-back, you'd freeze.
Ear training is the skill that closes all three of those gaps. It's the difference between a musician who can copy what they hear and a musician who can understand what they hear and then do something new with it.
This course is the complete Parts 1, 2, and 3 of my ear training sequence — bundled into one masterclass.
What you'll be able to do by the end:
Notate rhythms by ear in any common time signature, including 16th notes, triplets, and compound meters (6/8, 9/8, 3/8)
Identify every diatonic interval by ear — both melodic and harmonic
Take dictation on melodies — write down what you hear, accurately
Tell the difference between commonly confused intervals (the ones that trip everyone up)
Use practical recognition techniques: familiar melodies, colors, numbers, textures — whatever sticks for your brain
What's actually in here:
Part 1: Rhythms. Notating rhythms in 4/4, 3/4, 2/4, plus 6/8, 9/8, 3/8. Rests, ties, 16ths, triplets.
Part 2: Diatonic Intervals. Major, minor, perfect — recognition systems that actually work.
Part 3: Melodies. Taking dictation on full melodic phrases, not just isolated notes.
Hundreds of practice exercises with answer keys. This is the part most ear training courses skip.
A note on Perfect Pitch:
You don't have it. Almost no one does. You don't need it. We use relative pitch — the same thing every working musician uses — and it's a learnable skill.
Why this course:
Practice, not just theory. Hundreds of exercises. You will get reps.
All three parts in one place. No upselling you to "Part 2" later.
30-day money-back guarantee. If it's not working for you, get a refund. No questions.
I answer every question posted in the class, within 24 hours. Not a TA. Me.
Who I am:
Hi, I'm Jay. I'm a tenured university music professor with a Ph.D. in Music. I'm also a working composer and an active guitarist — so I use this stuff every day, in real situations, not just on a whiteboard. My theory and ear training courses have around a million students and a 4.7+ average rating.
Who this is for:
Musicians, songwriters, producers, performers, composers, and theory students who are tired of "almost" hearing the music. If you've taken (or are about to take) a college aural skills class — this is the most efficient way to get ahead of it.
Let's train your ears.
See you in Lesson 1. — Jay
