1- Pitch matching as the first step
Not all adults can synchronize what they hear with what they sing. Developing pitch matching requires well-trained attention, as well as internalizing the sensations of dissonance and consonance, understanding that absolute consonance is found in the unison, and that notes within the same collection hold a hierarchy of consonance (related with tonal awareness). For instance, the octave is more consonant with the tonic than the second degree with the tonic. It has been more effective to start with voice-to-voice exercises, avoiding the use of instruments initially, as the differentiation of timbers can complicate pitch recognition for some learners. Another obstacle I encountered was balancing dynamics, as working directly with an instrument can strain the student’s voice, making the process of playing by ear more challenging. Conversely, using two pianos in class proved highly effective, allowing both teacher and student to work within the same registers. Initially, I used a single piano and played in the higher register, a subtle factor that can make it harder for the student to listen and match pitch accurately.
2- Tonal awareness
Interestingly, focusing on tonal colors has yielded better results than interval recognition, which often feels like an overly intellectual and slow process. Concepts like gravity and magnetism within tonal hierarchies have proven to be intuitive and highly effective. Add also the relevance of understanding the collection of notes to create a tonal map, key to developing musical intuition. The use of a drone is highly effective, as it organizes all the sounds around a stable bass, providing a clear tonal foundation. This not only helps develop the concepts of dissonance and consonance but also highlights the tension and resolution within a tonal framework, allowing students to internalize how notes interact. One of the most common challenges has been recognizing whether a note ascends or descends. Ultimately, this skill involves memory and, most importantly, understanding the context (such as the note collection being used). These concepts must be internalized in much the same way we learn colors—through association and repeated exposure.
3- The problem of interval recognition
Building on the previous section, I have observed that interval recognition can pose an obstacle to playing by ear, as it is a slow and highly analytical process. One key limitation is that it often disregards tonal context; the same interval can evoke entirely different emotions depending on its harmonic surroundings (for example, a major third may sound happy or melancholic, depending on the context). Furthermore, interval recognition is a rational, less intuitive approach, whereas the goal of this work is to foster and develop musical intuition. Nevertheless, the value of learning intervals should not be dismissed, as they can be highly beneficial for understanding music in non-tonal contexts.
4- Singing and playing: from sound to instrument
Singing has proven essential for developing the ability to play by ear, as it forms a direct bridge between our musical imagination and the instrument. Through singing, we can externalize the sounds in our minds and translate them to the instrument. As the most natural and universally developed "instrument," singing is accessible to nearly everyone. Starting with familiar repertoire further simplifies the process, as the student already has the music in their mind and simply needs to decode it.
The use of lyrics has also been a significant advantage, especially for adult beginners with no prior knowledge of musical notation. Songs with lyrics allow learners to engage with the music directly, bypassing the need for solfège in the initial stages. However, as students progress, translating the song into solfège becomes crucial for deepening their musical understanding.
From my teaching experience, I have observed that not all adults find it easy to intonate accurately. Developing this skill requires vocal training and consistent practice. Encouraging students to sing regularly is crucial, as the primary challenge often lies in their lack of exposure and habitual singing.
5- Different Systems: name
Singing is fundamental to musical understanding. It often begins intuitively through humming or scat singing, but adding a cognitive layer—such as solfège, numbers, or note names—enhances comprehension. This introduces the debate over which system best conveys musical information: Movable Do, Fixed Do, the number system, or ABC notation.
The Kodály method emphasizes Movable Do, ABC notation, and numbers to develop relative pitch. However, singing with Movable Do while playing Fixed Do pitches can be confusing. At the same time, the benefits of Fixed Do should not be overlooked, because it provides precise auditory associations with specific notes and proves particularly valuable in non-tonal contexts, where relative relationships are harder to discern. Additionally, its interaction with individuals who possess absolute pitch warrants further research, as the development of absolute pitch remains unclear.
Relative pitch training, however, is clearly advantageous. It emphasizes the relationships between notes, crucial for interpreting and reconstructing music in various contexts. Absolute pitch, while impressive, is less adaptable, focusing on isolated tones rather than broader musical relationships.
What is clear is that playing by ear intuitively does not require theoretical knowledge, but understanding the hierarchy of notes and recognizing the tonal collection can significantly aid the process. Precisely because there is no consensus on a single system, the practice of musical transposition becomes essential. It plays a key role in developing strong relative pitch and enhancing the flexibility of the musician.
6- Analogy with Language
Learning to play by ear is, in many ways, like learning a language. It requires developing a rich internal library of sounds through repeated exposure to musical material, allowing the ear to recognize and anticipate patterns—whether repeated, varied, or transformed. Over time, these patterns become personally meaningful motifs, enabling a deeper and more intuitive connection to music. As this vocabulary grows, the listener begins to perceive larger musical phrases and understand them within the broader structure of a piece.
A key objective in this process is cultivating focused auditory attention—a skill that, although naturally limited, can be trained and expanded. This begins by focusing on small units such as short melodic fragments, bass lines, or inner voices. Gradually, these elements become more distinguishable and integrated. From there, one can move on to recognizing chord progressions, starting with basic tonal functions and gradually incorporating more complex elements such as modal interchange. With consistent exposure and repetition, the ear becomes more adept at detecting relationships, improving both expectation and predictive accuracy in musical listening.
7- Cultivating pulse and rhythm skills
The cultivation of pulse and rhythm skills is essential for developing the ability to play by ear, as they serve as the structural framework upon which musical understanding is built. Pulse provides the steady temporal foundation that anchors musical phrases, while rhythm organizes the sequential order of pitches, creating recognizable patterns that are crucial for aural perception. Mastery of these elements allows students to internalize and reproduce rhythmic structures with precision, enabling them to decode and execute musical material in real time.
8- The Importance of Choosing Familiar Material
Selecting familiar music facilitates a more intuitive decoding process, aligning with Kodály’s principle of “music in mind.” Working with familiar repertoire greatly simplifies classroom practice, as it removes reliance on musical notation and allows for direct engagement with the student’s musical imagination, supported by singing. This approach is also far more motivating for learners.
When introducing new (unfamiliar) repertoire, it is highly advisable to limit the framework. Kodály’s sequential learning approach is particularly inspiring in this context—starting with sol-mi and gradually incorporating additional notes (la, do, re, fa, si...). Structuring content and progressively increasing complexity are essential for achieving solid and effective learning outcomes.
9- Real-Time Playing and Visual Cues
Developing the ability to play by ear relies on quick, intuitive responses. Overanalyzing music intellectually can hinder this process, detracting from the spontaneity that is essential to this skill. Additionally, the visual aspect plays a crucial role. Observing visual cues, such as the movement of hands across the keyboard or illuminated keys, helps integrate kinesthetic sensations into the learning process. Ultimately, this is about strengthening the connection between sound and physical movement, making it essential to recognize and value the physical role of our body in this development.
What is more, in my experience as a pianist, performing requires a high level of responsiveness. When we play, we must react in the moment while simultaneously preparing for the next note, creating a continuous sense of expectation and readiness. The ability to play by ear is invaluable in this context, as it sharpens real-time listening and reaction skills, enabling performers to adapt intuitively to the music and maintain fluidity throughout their performance.
10- Memory: chunking and extractive memory
The development of musical memory plays a key role, especially given the natural limitations of human attention. As previously mentioned, chunking has proven essential, as it allows us to optimize memory by dividing music into manageable and memorable segments. Breaking down material into smaller, focused fragments is an incredibly efficient approach. Developing extractive memory is essential, as it enables students to retain key information even while other music is playing. Kodály’s emphasis on polyphonic listening serves as an excellent model for cultivating this skill.
11- Developing a musical imagery
Developing students’ musical imagery—commonly referred to as inner hearing—has proven to be a significant challenge, as I cannot directly access their minds to verify how they perceive music. However, I believe I can nurture their musical imagination through targeted exercises. This skill relies on fine auditory discrimination, memory, and imagination. To foster it, I can introduce structured listening exercises, mental rehearsal techniques, and audiation practices, such as silently reading music while internally “hearing” it or reproducing melodies after a single hearing. These methods enhance the connection between perception and motor action, making musical imagery an invaluable tool for transforming what is heard into what is played.
12- Creativity: composing and improvising
Working on familiar repertoire is essential, but it’s equally important to incorporate more creative activities, such as composition and improvisation. The act of creating music encourages students to deeply understand and internalize the material they are working with. For instance, improvising within a specific collection of notes allows them to explore and fully grasp all the possibilities within that set. The same principle applies to composition, where the creative process demands a thorough understanding of musical elements and structures.
13- Reading: symbol
While the focus so far has been on establishing a strong connection between sound and instrument, adding the symbolic representation is invaluable for developing musical literacy. This step not only reinforces musical imagery but also makes abstract concepts more explicit and tangible. However, I would like to emphasize here that I only find it effective to introduce the symbol when a strong connection with the sound (especially with the name and instrument) has been established. Furthermore, there are many ways to introduce symbols. Starting with simple drawings that represent pitch height or using more visual, graphic elements can often be more accessible than diving straight into a staff filled with notes. Kodály hand signs are an invaluable tool as well.
14- From Exploration to Precision
The process of trial and error is fundamental for developing intuitive musical skills. Early exploration of the keyboard through this method can be highly engaging, allowing students to experiment freely and build confidence. However, over-reliance on this technique can lead to inefficiency over time. As musical concepts are gradually introduced, a more conscious and precise approach becomes necessary. Ultimately, learning to play by ear relies less on verbal explanations and more on perceptual experience, with sound itself serving as the foundation for understanding.