Playing by ear using the Sound, Map and Instrument technique

[@ImproviseForReal]

Thanks for watching my video lesson! This is a very special video for me because it reveals the essence of how we study music at Improvise for Real. We love this approach to harmony because it gives us so much enjoyment in our own creative lives. I hope you like the video and that it makes you want to join us in studying music this way! If you have any questions at all, please post a comment and I'll be happy to discuss it with you.

[@micheldindaine8403]

this the natural way we should be playing music, just like talking: we think, make up a sentence, then we speak it out. The difference is that we have been doing this for so long that we don't even remember when neither how we started it. Freedom of speech and freedom of playing share the same roots.

[@ImproviseForReal]

Thank you Michel! I love that connection between freedom of speech and freedom of playing. For us, playing the sounds we imagine is so thrilling that's really the only kind of improvising we care about. Thank you so much for all your support and positivity! - David

[@oladelejohnson1390]

David - as always - grounding here is invaluable - thank you - Doc

[@richardodzgan7560]

would you recommend having a new tonal map for each chord change ? or atleast with maj and min chords ?

[@ImproviseForReal]

Hi Richard, the purpose of the tonal map is to enable you to see the entire flow of the harmony at once, and to be able to visualize the sounds you imagine. So in general we would try to move our tonal map as little as possible. When there are genuine key changes and you're going to be spending a long time in a new key, then it makes sense to move your tonal map so that it matches the new tonal center that you're feeling now. But you wouldn't want to move your map with every chord change because that defeats the purpose. One of the great benefits of the tonal map is that it allows you to see all of these chord changes on a single visual map of the musical landscape. Here's a video that shows you how this works: improviseforreal.com/ifr-blog/practice-tips/getting-past-the-theory/melody-paths Please check it out! And let me know if you have any questions about it. Thanks Richard! - David

[@richardodzgan7560]

@@ImproviseForReal Ok I get it, thank you kindly for fast response !

[@willcouchman6842]

Another knockout video! Could watch these all day :)

[@ImproviseForReal]

That's so great to hear Will. Thank you! Many more to come!

[@nzreggae2534]

I ordered the book. The skill of accurately knowing what scale degrees I am hearing in my head or ears, means that I could in theory write music directly to paper without an instrument. I often hear melodic ideas when I am not even trying to compose, like lying on my bed. Even just being able to intellectually recognise and identify the scale and chord degrees I hear in my head (usually to a chord progression I have been grooving to) would make it more likely for me to remember the melody when my lazy ass get's up. This is apparently how classical composers worked, from the minds inner ear direct to paper. I have Ron Gorow's 'Hearing and writing music' which I haven't got through and left on the shelf but I think it teaches the same end goal of knowing the scale degrees confidently and using that for writing music. I better go read it while waiting for 'Improvise for real' to arrive. I hear music in my head. Probably a fusion of everything I have listened to. I want to be able to get that music out onto acoustic drums, drum machine, bass guitar, piano, synthesisers, alto sax, trumpet, guitar. Oh yeah! How do we define composition? Should I start with the chords or the melody. I think I have been neglecting melody as a starting point because I make grooves for singers and rappers a lot. Now I want to compose reggae horn lines and disco string arrangements (software instrument generated). I guess I enjoyed your talks enough to pay the 90 dollars. If the structured practise can get me to the promised land of recognising scale degrees, I think I will be unstoppable or more humbly put musically engaged, productive and having fun. That music in my head might get out more often. Did classical composers utilise improvisation for ideas and then edit them perhaps? Should I improvise with gay abandon to generate melodic ideas for horn lines? How do Jazzy/Gospel/RnB keyboard players make up new chord progressions? What are the best strategies and options when trying to make up original music? That could be your next book lol. Can you point me in the direction of books or discussions that look at music composition strategies. I am capable of humming stuff and finding chords and bass lines and melodies. But I am sure there are numerous ways to generate ideas. I am currently reading about horn arranging and transcribing some horn section to figure out how to harmonise horn melodies. Well done David.

[@ImproviseForReal]

Hi NZ reggae, you can most definitely learn to recognize the scale degrees in your own musical ideas, and you're right that this allows you to write down any musical idea without having to fumble around for the notes on an instrument. And for improvisers, the reason why we work to learn this skill is because even though we're playing instruments, we also want to be able to express our musical ideas without having to fumble for the notes. To me this awareness of the sounds of our musical system is the very definition of what it means to understand music. I wish you a long and happy journey ahead! I'm not the person to ask about composition strategies, though. It's not that I haven't thought about it or experimented with different composition strategies. I just can't sincerely recommend that you approach composing in this way. I think it's much more rewarding to immerse yourself in a music practice that allows you to explore the sounds directly and compose organically, with no preconceived strategy. This is the method that we teach in Improvise for Real, and honestly we can only speak to that. But you might find some wonderful ideas in the composition strategies taught by other people. I just can't add anything very valuable to that discussion so I would leave that in your hands. But thank you for checking out my book and please feel free to get in touch if you have any questions about it or run into difficulties in your practicing. Thanks and happy jamming! - David

[@johnpritchard9753]

Wonderful idea superbly well explained. Thanks

[@jeanpaulraynal7750]

David , thank you very much for posting those video , I love the concept . It is a great way to look at music .

[@ImproviseForReal]

Thank you Jean Paul!

[@jms1016.0]

What can you say about the ability to feel the "location" of a note? Not necessarily knowing about a tonal map of numbers, but hearing a note and knowing where that note lies in relation to the players hands, based on..repetitive use of perhaps that key, or particular fingering. Whether a half step below, or a perfect 5th above, not that your thinking in intervals, but knowing that it can't be this or that note, because that one's too close, the note I'm thinking of must be a few more tones down. Is this fumbling around like you mentioned? because in my experience, I have hit notes I imagined successfully, and can''t imagine what improvising would be if not a sharp ability to execute notes in this way. I've also made a lot of mistakes too..and so was just curious

[@ImproviseForReal]

What you're describing is a kind of intuition about where a note is probably located, based on a hunch that you can't quite explain. It just "feels" like the note is probably here. But I would argue that what you're actually doing is using the tonal map exactly as we teach in IFR. You just don't know you're doing it, and you don't see the entire map. But when you feel that a given note must be in a particular location on your instrument, and you just feel that gesture from your muscle memory, what you're actually recalling is are the physical movements involved in going from one place on your tonal map to another place on your tonal map. It probably feels to you very much like just following blind intuition. But blindness is the wrong metaphor. It's not that you're blind. It's just that you're trying to find your way around a room with the lights off. All we're doing in IFR is turning the lights on so you can see exactly where you were on the tonal map when you played both of those notes. But now imagine how much faster you can learn if you keep the lights on. Imagine being able to see the complete musical landscape the whole time so that there's no longer any mystery about where you are and no more guessing. It's impossible to overstate how much this accelerates your learning. Intuition will always be part of our musical thinking. But we don't want to have to rely on our intuition for something as basic as knowing where a particular sound is located on your instrument. That should be made obvious to you by turning the lights on. This allows you to use your creativity and your intuition for the much higher purpose of choosing what you want to express in each moment. This is how we think of it. But again, depending on your own ability for this kind of unconscious intuition, you might find that just guessing at the note locations based on your physical intuition is enough to give you a very happy relationship with music. In the end, that's all that really matters. So I would just encourage you to pursue whatever kind of practicing feels the most fascinating to you, and leads you to the most enjoyable relationship with your instrument.

[@jms1016.0]

@@ImproviseForReal I totally love the idea of being able to recognize the sounds. After several months of playing with the map, I am very happy to say that I made progress that dry interval training never did. An ability to feel each notes unique sensation. But I feel like this is the easy part or something. Even in the sing the numbers 1 course, when the melody pick up, the practice notes you guys include mention how this faster melody should activate a different part of your listening. That's something I'm interested in. The ability to hear and understand, even in language, whole long sentences without trying essentially, just seems so amazing and hard to wrap my head around. And maybe I'm making it too much about this cool ability to just KNOW each note, as if it's some trick to impress your friends, and not about just the simple enjoyment of music.

[@jms1016.0]

@@ImproviseForReal So would you say it's not an either or thing? It's not just hearing the quality of the note and it's unique sensation, but the location on the map too? And it's not just the location, but an actual concrete note that appears again and again in a perfectly recognizable way.

[@ImproviseForReal]

Yes, exactly. Let's take a concrete example. Let's say that you're playing note 2 of the key, and your next musical idea is to play note 6 of the key. But let's imagine that you don't know any of this. All you know is that you're playing a note, and there's another sound that you're imagining and that you would like to play next. Currently, you would use your intuition or muscle memory to feel where this note is. You have a hunch about where the note is located, because the interval between the note you're playing and the next note just "feels" like it should correspond to a particular physical gesture that you've played before. So you're going to follow this hunch and guess where the next note is located, and you might guess correctly. What I'm saying is that none of this guessing was necessary. If we just turn the lights on, we can see that we were talking about notes 2 and 6 the whole time, and we can see exactly where they're located. It just requires slowing down and giving more attention to that melodic idea, and coming to understand that the sounds you were imagining in your musical idea where notes 2 and 6. This understanding is integral to IFR. This is how we study music in the first place, so there isn't any need for this kind of guessing or intuition. But please don't take this as a criticism of any other approach to improvising. I'm just trying to give you a sense of how we like to study music in IFR. Thanks for the thoughtful questions.

[@ImproviseForReal]

You're saying a lot of very wise things here. And yes, your ability to recognize entire musical phrases is very much like our ability to understand entire sentences without having to stop and puzzle over each word separately. I think you're also right to question whether you might be overthinking all of this, but you're asking good questions and I think they deserve an answer. The thing is, there's actually no binary test of whether somebody does or doesn't understand music by ear. Everybody understands some things by ear. Even a child can be taught to recognize the difference between note 1 and note 2 in less than 5 minutes. And even someone who has never studied music in his life can tell the difference between a very high pitched sound and a very low pitched sound. Looking at the other extreme, even the best ear in the world can't keep up with the music if we just keep accelerating the tempo until it becomes incomprehensible. So we're not talking about a binary ability that people either have or don't have. It's much more like physical strength. Everybody has some physical strength. Everyone in a gym can lift a barbell with a certain amount of weight. But some people are massively stronger than others. Ear training is exactly like that. There is no single objective goal. It's simply a skill area that you can grow in. And we think that the most wonderful way to grow in that skill is to weave this tonal awareness into your playing all the time. That way you don't even need to do ear training "exercises". If you simply listen to the notes you're playing and you know what their tonal numbers are, literally every phrase you play is a free ear training lesson. This is why it's so important to "turn the lights on" and practice this tonal awareness right from the beginning, and that's exactly what you're doing with IFR. And you've got the right idea that as long as you're doing that, then you should just relax and enjoy making music, and trust that this approach to practicing will naturally cause you to understand more and more music by ear as you progress. And yes, there will absolutely come a time when you can impress your friends by telling them the notes and chords of a song on the radio. But when you get to that level of ability, you'll already be so happy with your creative music practice that you won't even care about impressing your friends. In fact, you'll find it so easy that you'll probably want to show them how they can do the same thing too!

[@realnews7424]

Hi David I remember seeing a video of a young lady with you doing an exercise where she was going through this. Was it on KZbin or your website. Thanks.

[@ImproviseForReal]

I think the video you're referring to is this one that's on our blog in the category "Developing Your Ear": improviseforreal.com/ifr-blog/practice-tips/developing-your-ear/understanding-begins-with-listening

[@tfmarketing12]

I'm interested in the book Improvise For Real, but I get the sense it's geared mostly toward the guitar not the piano. Is that correct, or no? How helpful is this book for those specifically learning to play the piano?

[@ImproviseForReal]

Hi, thanks for your comment. Improvise for Real is for all instruments! We have many piano students and some of our most enthusiastic testimonials come from piano students. But the book doesn't teach the physical technique of playing the instrument itself. If you're just learning the piano now, a much better option would be to sign up for our Deep Foundations workshop which begins on September 16. The workshop is open to complete beginners in the IFR method, and in this workshop we will have video lessons for each instrument family, including the piano. These video lessons will teach you each exercise step-by-step, so it's just a great way to get started in the method. Here's all the information: improviseforreal.com/products/ifr-deep-foundations-workshop If you're not able to join us for this workshop, then I would recommend combining traditional piano lessons with the IFR book. Improvise for Real will teach you all about harmony, improvising and composing your own music. And you can use traditional piano lessons to learn the mechanics of playing the piano itself. If you're already playing the piano, then you should be able to understand Improvise for Real with no problem. I hope this helps! - David

[@crisrv8]

Se puede utilizar el método del libro ifr sin saber tocar un instrumento? Por ejemplo el piano? Se puede llegar a aprender con este método a tocar el piano?. Muchas gracias

[@ImproviseForReal]

Hola, gracias por tu pregunta. El método está diseñado para las personas que ya tocan un instrumento, pero no es necesario esperar hasta que tengas un gran nivel de habilidad antes de comenzar a improvisar. Todo lo contrario, cuanto antes comiences a incluir la improvisación en tus prácticas, más rápidamente aprenderás el instrumento. Pero con cualquier instrumento hay una relación física con el instrumento que tienes que cultivar, y generalmente es de gran ayuda tener un profesor personal para aprender esta parte de la técnica física. Hay temas de postura y movimiento que pueden hacer una gran diferencia en tu disfrute del instrumento, y nosotros no enseñamos esta parte. Por lo tanto yo te recomiendo que busques un método o un profesor para aprender a tocar el piano a nivel inicial, y que luego incorpores los materiales IFR para explorar la armonía y la improvisación con tu piano. Te deseo mucha suerte y mucha felicidad en tu camino! - David

[@mkmeed]

Great great great understanding of music and beautiful explanation....

[@ImproviseForReal]

Thank you Mahesh!

[@konagalHI1]

What is a tonal map and what how do I know what chords 3,2,1,7,6 are?

[@ImproviseForReal]

These are all concepts from the IFR method that you can learn about here: improviseforreal.com/about

[@konagalHI1]

Which course of @@ImproviseForReal There are many. Would appreciate it if you could recommend the first course. I have the hard copy book

[@ImproviseForReal]

Really all you need to do is start working through the book. But the two best resources to add to your practicing are the IFR Jam Tracks and our Sing the Numbers audio course. We will also be publishing introductory video courses for every major instrument family over the next few weeks. You'll find all of these resources here: improviseforreal.com/learning-materials

[@lucienne66]

Can you explain why you’re calling those notes 6 7 1 2 3? In the context of the Em chord those notes are 1 2 b3 4 5. Seems more logical to hear them that way.

[@ImproviseForReal]

Great question! It is more logical and perfectly fine to call the tonal center note 1 if that's the only tonal center in the piece. But one of the most empower skills you can develop as an improviser is the ability to view ANY note as the tonal center. This enables you to visualize the entire harmonic progression to a song on a single tonal map, which matches more closely the way your ear actually hears and feels melodies. Here's an example of what this looks like in practice: improviseforreal.com/ifr-blog/song-analysis/autumn-leaves-ear-training

[@ericcalonico5621]

Hi David, as you know, I am starting on the method, soi forgive for the dumb question. How did you figure it out the melody started at 6, and not on D(2), it would have the same intervals, at least for the first 5 notes...so 2 * 34 * 5 * 6? Thanks again.

[@ImproviseForReal]

Hi Eric, it's not a dumb question at all. That's a great question, and a great observation. You're exactly right that any melody using just these five notes could be understood as either 2·34·5·6 or as 6·71·2·3. With just this one observation, you're already demonstrating that you understand the issue perfectly. So there's actually nothing here to solve. And a big part of understanding both the 2nd harmonic environment and the 6th is that they coincide in these first five notes. So which of these two models is preferable if we're looking for the best way to understand and think about the song? That's going to be determined by everything ELSE going on in the song. Maybe it's another part of the melody which uses the remaining notes of the harmonic environment, or maybe it's the chords in the background which suggest one key over another. But the most important thing to understand is that this information is NOT contained in the five notes themselves, because as you rightly point out, there are two harmonic environments in which we can find these exact same sounds. Thanks for thinking about all of this and for asking a great question! - David

[@jo3va758]

You speak of tension and relaxed. I am not understanding what you mean by this. I suspect it has to do with the way the notes vibrate against each other. If I am correct, more tense notes vibrate more and more relaxes notes vibrate less?

[@ImproviseForReal]

Hi Joe, it's really a human sensation more than a question of the strict amount of vibration. In terms of the underlying acoustics, the more tense or dissonant intervals don't exactly vibrate more, it's that their vibration is more irregular. This is what causes us to feel the resulting waveform as tense or dissonant. But for our purposes, it doesn't really matter how all of this happens physically. I'm just inviting you to notice the feeling in your own mind and body with each note of the scale. These terms of "tension" and "relaxation" are gross oversimplifications anyway, so don't be troubled if these words don't add anything profound to your understanding. The more important issue is to listen deeply to each note of our musical system and simply notice which note of the scale produces that sound. The formula for learning to play by ear really consists of just two parts: (1) learn the right mental model, meaning that you're doing all of your thinking in tonal numbers like I'm demonstrating in this video, and (2) spend lots of time getting to know the sound of each note on your tonal map. This is the fun part because we can actually do this through our own creative improvising, among other activities. Thanks for the question and I hope my answer helps a little. - David

[@calcal5135]

Love your musical philosophy.

[@ImproviseForReal]

Thank you Cal Cal! And thank you for supporting us on KZbin!

[@debford2836]

When I hear a melody, how do I know what note number to attribute to the first note of the melody? .

[@ImproviseForReal]

Great question Deb. You need to recognize the note by its sound.There are a number of ways that we practice this ability in IFR. The simplest is just to spend lots of time singing the tonal numbers. If your instrument allows you to sing while you play, then singing the tonal numbers out loud while you improvise is a fantastic practice. You can also use our audio course "Sing the Numbers" to greatly accelerate this learning process for you. Here's the link: improviseforreal.com/products/sing-numbers-1-ifr-tonal-map So to your question more completely, this ability is the result of a way of practicing music in which you're thinking in tonal numbers the whole time. So your jamming itself becomes your ear training, because each note you play reinforces your awareness of how that particular tonal number sounds and feels. And it's this personal experience of each tonal number that allows you to recognize them in the music of other people. I hope that makes sense. If you have any more questions about it, please feel free to post more! Thanks for your thoughtful question. - David

[@debford2836]

Thx David. In the video example, am I right in thinking the 6 could equally be 2, depending on where the melody subsequently went... My brain hurts😜

[@ImproviseForReal]

Wonderful insight! The answer is yes and no. Yes because you're right that we have these exact same intervals in the notes 2·34·5·6. So you're absolutely right that these melodies can also be played with those notes. The way we say this in IFR is to say that these same melodies can also be found in the 2nd harmonic environment. On the other hand, we could also say no to your proposal that the tonal center is note 2. But the only reason why we might reject your idea in favor of calling the tonal center note 6 is because of the OTHER sounds that appear later in these songs. When you go on to consider all the rest of the melodies and the chords to these two songs, you'll probably find that calling the tonal center note 6 leads to the most natural and easy way of understanding the whole tune. But there is a meta-learning hear that you've hit upon which is super important. And it's the fact that all of this harmonic analysis is subjective. If you want to be stubborn, you can analyze any tune in any key, no matter how ugly the result. (For example you could play a simple children's song in the key of C, but I could insist that it's really in the key of B natural with a ton of alterations. I might not be very successful selling my sheet music to your song because everyone would find my analysis horrific. But there's nothing mathematically "wrong" with any harmonic analysis.) I think that if you embrace this idea, it can help some of that brain hurt to go away. We're not looking for the "right answer". We're just looking for familiar sounds and passages that remind us of things we've already studied. You're totally free to think about these songs any way that you like. But since all of these songs really are very simple harmonically, most people will ultimately agree on the same interpretation. (With more sophisticated music this isn't the case. Try getting 10 jazz musicians to agree on the key of a Wayne Shorter composition and you'll find 10 different ways of thinking about it.) But even with the simplest music in the world, any harmonic analysis is subjective and you're doing EXACTLY the right thing by noticing different models that enable you to visualize and understand the song. Thanks for making this contribution! - David

[@dmitrykalashnikov8637]

Why not movable Do system?

[@ImproviseForReal]

This is a great question that we get asked all the time. First of all, it’s fantastic that you already have experience with solfege. With solfege you already have a huge head start on the work that we do in IFR. I think that if you find it easier to use solfege syllables in the beginning then that’s totally fine. Our biggest priority in the beginning is just to get you in contact with the sounds, hearing them in your mind and picturing where each sound is located in the tonal octave. If you find that it’s more appealing to do this work using the solfege syllables, then please feel free to use them. At some point in the future, though, you will probably find yourself very naturally switching to the tonal numbers in much of your thinking. What the tonal numbers give you is a much simpler and more efficient way of picturing the relationships between the notes. For example, most musicians will have to stop and think for a moment to picture the number of scale degrees between Fa and Ti. But any child can instantly picture the distance from 4 to 7. This advantage gets multiplied when we start stacking intervals to create chords and entire chord progressions. So I would just encourage you to keep an open mind and continue thinking about musical notes in whatever way you find most empowering to you personally. Also remember that you are never going to lose either system. The solfege syllables don’t go away just because you learn to express something in tonal numbers. The fact that you can switch between both languages is a great asset that you’ll always have.

[@vinnyoorsprong62]

David,, the 6 minor , the 7th and 3 majeur , are that chords for jazz music ? thanks for your answer ! Vny ;-)

[@ImproviseForReal]

Hi Vinny, the seven chords of the major scale appear in all popular music! That certainly includes jazz but it also includes pop, rock, funk, blues, bossa nova, tango and every other modern style that you can think of. This is why we master the major scale first in IFR. It's really the foundation of everything else. - David

[@eduardonunez5809]

love it!!!

[@ImproviseForReal]

Thank you Eduardo!

[@lucijaplavetic1]

You have awesome lessons, a person can't resist starting to love music theory after watching some of your videos

[@vinnyoorsprong62]

David, in this video , you're spaking about a 'scale'......do you mean the melody-scale? thanks for your answer. Vny :-)

[@ImproviseForReal]

I just meant the key of the music, which is the major scale. - David

[@delbinson18]

Amazing 😉 thank you for the great lesson. Hope more people could enjoy and learn from IFR.

[@amypolonsky]

Thank you. Amy

[@mikeleffler6051]

Love this video!

[@ImproviseForReal]

Thank you Mike! I hope you're doing great and enjoying your guitar!

[@mikeleffler6051]

Improvise For Real Thanks! I am. I really love the topics that you’re covering in these videos. The production is great too. Your teachings and materials are a huge help to me almost every day. Thank you!!

[@ImproviseForReal]

That's so wonderful to hear, Mike. I hope you have a great summer with lots of time for fun and music!

[@ImproviserenmetJelske]

‘Musical Tourism’ ❤️❤️ love it!

[@ImproviseForReal]

Thanks Jelske!

[@phillipknight8307]

I cant

[@michaelsmilek2404]

What a Great Lesson! Thank You!

[@ImproviseForReal]

Thank you Michael!

[@dwrdcszz]

This is a great lesson David however the key matters. Since it is taking me way to long to learn the E natural key so I here what you are hearing. It would have been so much easier if you played it in The key of C. I don’t pan on just playing in C because it is not my key however it is the easiest key to understand.

[@dwrdcszz]

Maybe I spoke to soon, I have within the last half hour put the 6 in two other keys. I guess it worked for me by playing the melody a few times then adding the base.

[@ImproviseForReal]

Hi Edward, that's great that you tried the exercise in other keys. The reason why I chose an unusual key to demonstrate this concept is because this is the whole point of the tonal map. If you're visualizing the tonal numbers 1 through 7 (separated by half steps and whole steps as represented on our drawings), then you can project this tonal system onto any key on any instrument. The only thing you need to be able to see clearly is the underlying chromatic scale. But I understand your point, and in other teaching videos where we're focusing specifically on learning to recognize the degrees of the scale by ear, for example, then we would always look to demonstrate that exercise in the simplest of keys because the priority is for you to be able to see the scale degrees with a minimum of difficulty. The reason why I didn't do that in this video was because part of the message about the IFR Tonal Map is how it applies to any key. If we demonstrated the exercise in the key of C, a huge part of the message would get lost because people wouldn't understand how the tonal map drawing applies to ANY key. Thanks for your comments and keep exploring these ideas in different keys! It's incredibly liberating once you realize that you actually don't need key signatures at all, because you can just do all your musical thinking in tonal numbers and then master the skill of projecting these tonal numbers anywhere on your instrument. - David

[@dwrdcszz]

Improvise For Real in actuality David since I’ve been playing by the numbers for more than a year It only took me a few minutes to figure it out and by today I can do it in any key. So in retrospect teaching in the key of c would have been the wrong way to go about it. Don’t get me wrong I am a guitar player and am just getting use to moving about on he key board, but I know to many musicians hat only play the key bard in C. By the way I play out a few nights a week and I am gettin a great response since I have been dining with the numbers. It as helped improve my playing, my timing, and my singing.

[@ImproviseForReal]

That's fantastic Edward! I'm so happy for everything you've accomplished. It only gets better from here!

[@joseantonioplazaguitarra]

Fantástico trabajo David!! me gusta mucho la claridad de exposición. Enhorabuena. Necesito estos videos en castellano para mis chicos !!! Es una petición, jajaja. Me encantaría poder disponer de muchos videos tuyos así, para sugerirles que los visualicen en casa antes de venir a casa sesión de clase, porque así la clase podría ser más provechosa a nivel práctico, de tocar , cantar y sentir en clase más tiempo de la misma, si yo pudiera ahorrarme el tiempo de explicación ... Eso seria genial... bueno, el primer inconveniente a superar sería que ellos vieran cada video-clase en su casa antes de venir conmigo, jajaja ... pero yo creo que con un poco de buena motivación positiva sí que lo harían ; el segundo inconveniente, que es el realmente complicado, es que realizar toda una colección de videos para un estudio de práctica continua a lo largo de todas las clases de dos cursos académicos completos, es un trabajo ingente de planificar, y realizar... En alguna de nuestras conversaciones personales he estado a punto de comentarte esta idea, pero me ha salido ahora de manera espontánea, porque este video , como muchos otros de tu canal, me parece estupendamente realizado y la manera de explicar las cosas es muy clara tanto a nivel intelectivo como sensitivo. A veces me planteo abordar yo ese trabajo por mi cuenta ... porque siempre me quedo con la sensación de que quiero explicarles tantas cosas que se me hace corto el tiempo que nos queda en cada clase para la experimentación práctica de lo que les cuento en cada una de ellas... y esa practica, que lo experimenten por ellos mismos, es la parte más esencial ... Pero es mucho trabajo solo para mi, y no tengo los medios adecuados... ni la energía suficiente creo... En fin. Un abrazo y enhorabuena amigo.

[@ImproviseForReal]

¡Muchas gracias Jose Antonio! ¿Estás suscrito también a nuestro canal en castellano? Aquí tienes el enlace directo: kzbin.info Dentro de una semana publicaremos el mismo vídeo en nuestro canal en castellano. Espero que sea suficientemente claro para servirles a tus alumnos. Estoy muy de acuerdo con tu idea de crear toda una serie de vídeos para acompañar la práctica. Esta fue mi idea original también. Todavía estamos en ello pero es un trabajo enorme como bien dices. Además se tiene que compaginar con la creación de otros materiales que nuestro alumnos necesitan aún más urgentemente como las bases musicales. Es un trabajo sin fin pero de mucho amor así que me siento muy agradecido. Gracias por tu comentario. Si en algún momento quieres ampliar tu participación en IFR aportando tus propios vídeos o dando clases particulares, ya me avisarás. Llevo años intentando ficharte. :-)

[@88davido]

Great stuff.

[@ImproviseForReal]

Thank you David!

[@phillipknight8307]

Hi

[@pinheadnick8540]

another brick in the wall

[@adambrenner8371]

you sound like me.

[@Josbornevonosborne]

" Im confident in my mind that you could pick that out as 6713...." Sorry to tell you, but....

[@ImproviseForReal]

Ha ha! Sorry to put you on the spot like that. But listen, everyone recognizes these sounds. If you couldn't tell the difference between one sound and another, then you would have no reason to like one song more than another. Or if I played your favorite song and played all the wrong notes, you wouldn't even notice. So all you need is the opportunity to hear these notes in a calm, orderly way that allows you to truly get to know which is which. This is what we do in our "Sing the Numbers" audio course. If this is a skill you'd like to develop, you'll find the course here with all of our other learning materials: improviseforreal.com/learning-materials