How to play music by ear - Julian Bradley

EAR TRAINING EXPLAINED HOW TO PLAY MUSIC BY EAR

by Julian Bradley

WHAT DOES ‘TRANSCRIB E’ MEAN?

BEFORE WE BEGIN

Throughout this book I use the word ‘transcribe’ often. ‘Transcribe’ means to identify notes and chords by ear.

 PERFECT PITCH

VS RELATIVE

Whether you end up playing those notes at your

PITCH

There are 2 ways to play music by ear - perfect pitch and

instrument, or whether you just do the brain work and

relative pitch. Perfect pitch is the ability to recognize

keep it to yourself - the process is called ‘transcribing’. ‘transcribing’.

specific note frequencies - memorizing the sound of C,

 RECOMMENDED LISTENING

C#, D, etc. Few people have perfect pitch - you either

It’s important to practice transcribing on the right level of

have it or you don’t, and generally speaking, you can’t

music. For this reason, I’ve listed appropriate level songs

learn it. I do not have perfect pitch.

throughout this book as ‘recommended ‘recommended listening’. These

Relative pitch however can be learnt by anyone, and is

songs span a range of styles and tastes, but all make

taught at most universities / music colleges. In this book I

perfect transcribing practice and feature the concepts

teach relative pitch. Relative pitch works by memorizing

covered in this book. When a song t itle is underlined, underlined,

the sound of notes and chords within the context of the

the text is a clickable link which will take you to the

key - the sound of the root, 2nd, 3rd, the I chord, the V

band’s official video on youtube.

chord, and so on - all of which sound the same in every

 GOOD SPEAKERS

key. But at the end of the day, you don’t know which key

It’s important to listen to music on good speakers which

the music is actually in - which is rarely of importance

allow you to hear the bass clearly. Since hearing the

anyway. The nice thi ng about lea rning relati ve pitch is tha t

bassline is essential to transcribing a song, avoid listening

you learn the rules of music at the same time - whereas

to music on laptop speakers, which cut out the bass and

perfect pitch doesn’t do that, it just hands you the answer

makes things unnecessarily difficult. Listen through proper

on a plate.

speakers or headphones instead.

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PARt one

ear

COMING UP: 3 pillars of ear training

training

fixed key learning

fundamentals

staying within the key think in terms of “key”

Practice doesn’t make perfect - perfect practice

listen / think / check

makes perfect. The biggest bigges t difference between those thos e

summary

who succeed at ear training and those who don’t, is whether or not they practice ear training the right way. There are many man y practice tec hniques which wh ich are not only ineffective, but are actually counterproductive and prevent your ear from developing, despite seeming like a good idea. So in this section I layout the most important fundamentals to practicing ear training - this is the most essential information in this book.

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THE

3 PILLARS

of ear training How does playing music by ear work? There are 3 aspects involved:

3. Interval recognition. Once you’ve identified a

1. Knowledge of Scale. Before listening to anything,

familiar note or chord by ear, the final step is to track

you must memorize and understand the 7 note scale that

where the music moves from then on, by listening to the

nearly all western music is written in. This means learning

intervals it moves by - up a step - down a 3rd - up a 4th and so on:

the notes and chords which exist within the key like the back of your hand - which chords are major, which are minor, minor, where the half-steps occur, and so on. This is 2/3rds of the work, and attempting to transcribe music by ear without studying the terrain beforehand is useless. 2. Note / Chord recognition. Learn to recognize a few notes and a few chords by ear - hearing one of these tells you wh ere within t he scale t he music is . You don’t

And that’s the gist of transcribing music by ear - 3 skills

have to learn all notes and chords by ear - in fact you only

used in combination. In this book I cover each fully and

need to accurately identify one note or chord to pin point

show you effective practice methods to master each.

your location within the scale:

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- nearly all are built using the same few notes and chords -

FIXED KEY LEARNING

the one thing changing is usually the key signature. Key is not important - the only reason we have multiple keys is so a composer can find the best fit for their music

If you take just one thing from this book, remember this:

and the performers’ ranges - if the singer can’t make the

The fastest way to master relative pitch is to restrict your

top note, they’ll transpose it down a few keys. If the bass

playing to one key, for a sustained period of time. Every

sounds too muddy, muddy, they’ll they’ll transpose it up a few keys - but

new concept you learn about, apply it to that one key.

that’s it. A piece of mus ic sounds the same whi chever key

Every composition you write, write it in that key. Every

you play it in - 12 keys just means 12 different ways to say

song you listen to, listen to it as though it’s in that key, and

the same thing. Changing key regularly only distracts you

learn to play it in that key - not the key of the original.

from seeing what’s actually important.

The biggest obstacle preventing most musicians from

2 BENEFITS

developing relative pitch, is that they continually change

Restricting your playing to one key has 2 main benefits:

key - they’ll practice one song in one key, then another song in a new key, and so on - and they’re even taught that

1. It eliminates the visual distractions encountered as you

this is a good thing to practice. But attempting to learn 12

change keys - no longer are you bombarded with every

keys early on just leaves them equally unaware in 12 keys

note and chord under the sun - F F# Gb etc:

rather than mastering one. Only when you line up every piece of music into the same key, do you see that 95% of music is written using just 7 notes and 6 chords. Whether i t’s a pop song, a country

2. Notes and chords sound the same every time you play

song, a tv commercial, or a Hans Zimmer film soundtrack

them. An essential part of playing by ear is learning the

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unique sounds of notes and chords within the context of

these sounds in one key, then you’ll be able to notice

the key - the unique sound of the root, the 2nd, the 3rd,

them in every other key - but first you must learn them in

the V chord, the vi chord, etc. All the time you spend

one key.

playing in one key, the memories of these sounds builds up

I call this accelerated learning method ‘Fixed Key Learning’

- C sounds like the root every time, D sounds like the 2nd

- restricting my own playing to one key is what lead to my

every time - but as soon as you change to a new song in a

own accelerated ear development, and I’ve noticed the

new key, each note takes on a whole new sound within

same results in my students - the ones who tell me they

the new context - C now sounds like the 5th, D now

play and think mostly in one key have far superior relative

sounds like the 6th, and all the memories that had been

pitch than those who play in all keys.

building up are quickly smudged away, and replaced with new ones. But your brain doesn’t know which ones to

Prioritize training your ear first, because ear training is

trust, so ultimately each note ends up being a muddy mix

king. Once you’ve made progress in ear training, it’s a

of memories - none of which stick:

much simpler task to become fluent playing in other keys, which can be learnt in a matter of weeks.

Only by restricting playing to one key do you give yourself a chance to ingrain these sounds - your memory of each note and chord grows stronger every time you play, and it’s impossible to backpedal. Once you’ve truly ingrained

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STAYING WITHIN THE K E Y First we mus t choose a key to stick to. There are 12 keys which exist, and each key represents a major scale and a

And if I’m discussing the minor scale, or a minor song, I’ll

minor scale - these are called ‘relative’ major and minor

demonstrate through A minor scale: minor scale:

scales - both scales use the same group of notes, but start from different points (to be discussed in the next chapter). Throughout this course I will use the key of C major / A minor to minor  to demonstrate all concepts (the white notes on the piano):

All major and all minor music can be played within the same 7 notes of the key.

STAYING STA YING WI THIN THE KEY

How do you keep your playing within this key? Simple make sure you only play notes from the scale (in this case, the white notes) . The melody mu st stay within these

If I’m discussing the major scale, or a major song, I’ll

7 notes. The bassline must stay within these 7 notes. And

major scale: demonstrate through C major scale:

the chords must be built entirely from these 7 notes:

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So I’ll cross the first answer off my list, and come up with a new theory. In our key of C major / A minor, the correct answer actually looks like this:

If you play a note outside these (a black note) then you’ve

So in my first answer I had the wrong starting note - the

changed key. If you’re transcribing a song by ear and its

Bridal March melody actually starts on G, not C. When

melody seems to come out of the white notes, even for a

played starting from G, it stays within the 7 notes of C

single note (a Bb, or an F# for example) then your answer

major / A mi nor.

is wrong - the melody is somewhere else in the scale and you’ll need to come up with a new theory - one which fits within the notes of C major / A minor. minor. For example, say that I’m transcribing the ‘Bridal March’ melody (‘here comes the bride’), and I come up with this:

wrong because This answer is wrong  because it comes out of scale for the Bb Bb..

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  MAJOR &  MINOR ARE IRRELEVANT

THINK IN TERMS OF K E Y You might think that the first step when transcribing a song would be to determine whether the music is major

And the 7 chords found in the major scale are the same 7

or minor - but this is rarely necessary. Rather than

chords found in the relative minor scale:

thinking narrowly in terms of ‘major’ or ‘minor’ it’s better to see the bigger picture and think in terms of ‘key’. ‘Key’ refers to the 7 note scale that 95% of western music is written in. Within these 7 notes both the major scale and the minor scale exist - but the word ‘key’ refers to the 7 notes from a neutral perspective - it’s neither major or minor. This is why you can transcribe every major song and

C major scale  scale   and A minor scale  scale  are both made

every minor song within the same key - the major

from the same notes, and are called ‘relative’ major and

major , the minor sections are in A sections are in C major,

minor scales. The only difference between them is their

minor. minor. Otherwise we’d need 2 separate keys - one for

starting notes - C major starts major starts from C, A minor starts minor starts

major songs and another for minor songs.

from A:

MAJOR / MINOR =   IRRELEVANT

Only a very small proportion of songs (2%) stay sounding major  major  throughout - think of nursery rhymes like ‘Mary Had a Little Lamb’ or ‘Jingle Bells. Listen to these as

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though they’re in C major, major , and think of the 7 notes

When the music is sounding major, I treat C as the root

starting from C.

of the scale, and visualize all notes starting from C. And when the music is sounding minor, minor, I treat A as the root of

And an equally small proportion of songs sound

the scale, and visualize all notes starting from A. And I

exclusively minor  minor  - think of songs like Dave Brubeck’s

slide back and forth between these 2 perspectives

‘Take ‘Take 5’ ( the A section), ‘Cry Me A River’, or any rap song

continually:

which sustains a minor chord throughout. Listen to these minor, and think of the 7 notes as though they’re in A minor, starting from A. But the norm these days (90%+ of music) is to write music in a grey area between major and relative minor. It sways back and forth between sounding major, and then sounding relative minor - every 2 or 3 chords the music

So instead of thinking rigidly and narrowly of a song as

changes its mood - C major - A minor - C major - A

‘major’ or ‘minor’, think like this:

minor. minor. Listen to any mainstream radio station to hear this

‘The song is in the key of C major / A minor - there’ll be

swaying effect in action:

C major moments, major  moments, and there’ll be A minor moments minor moments either way, it’s the same notes and chords’:

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INCREASED AWARENESS

NUMBERING FROM BOTH PERSPECTIVES

Relative major and minor scales are always the same

Within our key of C major / A minor, each of the 7 notes

distance apart, for all 12 keys - the relative minor scale

can be numbered from either scale’s perspective - you

can always be found starting a minor 3rd below the major

could number C D E as the root, 2nd, 3rd of C major

scale. I’m always aware of a major scale’s relative minor

scale. But those are the same exact notes as the 3rd, 4th, 4th,

scale, and a minor scale’s relative major scale. If someone

5th of A minor scale:

says ‘C major’ - the first thing I think is ‘C major / A minor’. If someone says ‘F major’ - I think ‘F major / D minor’, and the same for all 12 keys. I can’t think of one without the other - both are the same thing:

Understanding that major and minor scales are the same 7 notes simplifies things from an ear training perspective it means we only have to learn the sound of 7 notes - and not 2 separate 7 note scales. So don’t get bogged down with whether a song is major or minor - see the bigger picture and think in terms of the key - C major / A minor.

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 RECOMMENDED LISTENING observe the swaying major / minor effect: what a wonderful world louis armstrong

pure imagination jamie cullum infra 5 max richter Try Pink the a team e d sheeran under the bridge red hot chili peppers Halo Be Beyonce yonce How To Save A Life Th The e Fray Broken Wings Broken  Wings Mr. Mister With Or Without Withou t You U2 time after time eva cassidy version I Want To Know What Love Lo ve Is Foreigner Is  Foreigner click on song song to listen

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answer - ‘right’ or ‘wrong’ - which prevents their brain

LISTEN /  THINK /

from having to work or improve - the same way that

CHECK

relying on a calculator prevents you from improving your arithmetic.

The most important concept in this book is to restrict

LISTEN / THINK / CHECK

your playing / think ing to o ne key. The 2nd most important concept is to practice ear training the right

This is how to practice transcribing music by ear:

way: l ist en

Ear training is practiced predominantly AWAY from your instrument - DO NOT attempt to play songs by ear

Thi nk

Check

Listen to Listen to the song as many times as you need, and listen

sitting at your instrument. Again - DO NOT attempt to

to it as though it’s in your fixed key (C major / A minor).

play songs by ear sitting at your instrument.

Think  Think  long and hard about each note and chord using

Many people think they can ‘play by ear’ because they sit

the techniques covered in this book. Do some thinking

at their instrument and use trial and error to find the

while the music plays, and some thinking in silence. All the

notes that match the recording. But this is not what

time you’re thinking, you’re improving - so don’t rush this

‘playing by ear’ means, and despite seeming like a good

stage.

idea, is just another counter-productive counter-productive practice technique

Check. The final and least important step is to check

which actually prevents you from improving.

your answer, by playing it at your instrument. Don’t check

Ear training is actually brain training - it has little to do

your answer until you’ve mapped out your complete

with your ear. Transcrib ing a s ong by ea r is a lot of br ain

performance in your head.

work, and feels like solving a puzzle. Someone who transcribes songs at their instrument is preventing their

Of course you’ve been thinking of the music as though it’s

brain from learning - the instrument gives them an instant

in your fixed key, which will probably be different to the

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recording - but just play your answer and your ear will adjust to the new key within a few notes. The goal is to think like this every time you hear music not just when you sit down to practice ear training. Every Every time you hear music, start dissecting every note and chord as you hear it. When listening to the radio, when you’re at a coffee shop or restaurant, when you’re watching a film, when a car drives by playing music, when someone’s ringtone goes off - your brain kicks into ‘transcribe mode’ every time.

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 MAJOR &  MINOR ARE IRRELEVANT Determining whether a song is major or minor is rarely

necessary. Most music sways back and forth between sounding major and sounding relative minor, every 2 - 3 chords - C major - A minor - C major - A minor. So  FIXED KEY LEARNING The fastest way to develop relative pitch is to restrict

instead of thinking narrowly of a song as ‘major’ or

your playing to one key, for a sustained period of time.

‘C major / A minor’ - a song in C major will probably

Doing so reduces the amount of visual distraction

spend just as much time sounding like it’s in A minor -

encountered when switching keys. It also ingrains the

both share the exact same notes and chords.

‘minor’, see the bigger picture and think in terms of key -

sound of each note and chord, which sound the same

LISTEN /  THINK THINK /  / CHECK Avoid transcribing songs using your instrument - doing so

every time you play them within that key. Once these memories have built up, you’ll be able to notice these

has no long term benefit for your brain and only prevents

same sounds in every other key - but first you must learn

your ear from developing. Instead, practice transcribing

them in one key.

songs away from your instrument using a 3 step process:

Throughout this book, I teach all concepts within the key

Listen - listen to the music as many times as you need. Listen -

of C major / A minor minor.. Live, breathe, think, compose, play play, and transcribe all music in this key, at least for the

Think Think  - use the techniques in this book to dissect every

duration of th is book. When trans cribing mus ic by ear,

note and chord.

make sure every note and every chord is built entirely of

Check  - check your final answer by playing it at your Check 

the white no tes. Anytime you play a blac k note you know

instrument.

you’ve broken out of key and need to test a new answer.

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PARt three

COMING UP:

interval

6 P R I O R I T Y I N T E R VA VA L S learn intervals by singing them THE STEPPING STONE METHOD

recognition

summary

Once you’ve identified a note in the melody, you’ve done the hard part. Now you know where within the scale the melody is, and the next part is relatively easy - you just need to keep track of where the melody moves from then on, by listening to the intervals it moves by:

In this section I show you how to identify intervals by ear.

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then you can learn the sound of all 12 intervals. However, THE

6 PRIORITY INTERVALS

half of these intervals are rarely used - how often does a melody jump by a 7th, or a 6th? In fact it’s rare to hear a melody jump beyond a 5th in a single leap.

When a melody moves from one note to the next, an interval is created between those 2 notes. ‘Interval’ refers

The tritone is also rarely used, since it’s hard to sing and

to the distance between 2 notes - it’s a way of measuring

sounds creepy. creepy.

the size of any gap. If you know at least one melody note

Crossing these off the list leaves us with just 6 intervals -

(using techniques from the previous section), then you can

most melodies are built entirely from these which I refer

identify all other melody notes by tracking the intervals

to as the ‘6 priority intervals’, because they’re they’re the priority

that note moves by:

to learn by ear:

PRIORITY INTERVALS

When transcribing melodies by ear, most of the time

Within the octave there are 12 intervals which exist:

you’ll be choosing between these 6. And in the rare instance that a melody jumps by one of the non-priority intervals, it’s possible to identify the leap using the 6 priority intervals, added together in various combinations Each has its own size and sound, and can be learnt and

- to be discussed soon.

recognized by ear. If you enjoy the challenge (like I do)

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DESCENDING INTERVALS

What about descending intervals? Don’t we need to learn each interval ascending and descending? No. Many musicians go through the trouble of trying to learn intervals ascending and descending - but the truth is you never have to identify a descending interval by ear, if you don’t want to. When you he ar the mel ody descend by a leap, just sing the 2 notes repeatedly and think of them backwards, in reverse order - bottom note - top note. Then measure the interval as an ascending interval:

So to transcribe music by ear, you only have to learn the 6 priority intervals ascending - that’s that’s it.

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Learning intervals this way is called ‘musical association’ -

LEARN INTERVALS BY

simply associate each interval with a famous melody that

SINGING THEM

features that interval in its first 2 notes:

Learn the sound of intervals by singing them - nothing else. By the time you can sing an interval, you’ve you’ve learnt it. Humming and whistling are just as good. In this chapter I show you a range of singing exercises, varying in difficulty, designed to ingrain the sound of intervals and make intervals fun and creative. EXERCISE 1: MUSICAL ASSOCIATION

The good news is that your brain already knows the sound of all 6 priority intervals - it’s been listening to them every day of your life, every time you play or listen

Away from your instrument, choose one of the 6 priority

to music. For example, if you can sing the first 2 notes of

intervals to work on - e.g. the 4th. Recall Recall the appropriate

Twinkle Twinkle Little Star, then your brain already knows

reference song for that interval (Bridal March). Sing both

the 5th. If you can sing the first 2 notes of the Bridal

notes repeatedly, bottom note - top note:

March (‘Here Comes The Bride’), then your brain already knows the sound of the 4th. The only thing that might be missing is the correct label to remember it by.

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Focus on the size and sound of the interval, and forget about the reference song that you used to find the notes the goal is to learn intervals without relying on the musical references references all the time. EXERCISE 2: HALF-STEPS / WHOLE-STEPS

Once you can sing this scale, you’ve well and truly learnt the half-step and whole-step.

Of the 6 priority intervals, the half-step and whole-step are the most important - most melodies move by step

SIGHT-SINGING

more than any other interval. Ingrain the half-step /

My favorite exercise of all is ‘sight-singing’:

whole-step by singing your favorite favorite exotic scales:

Play a starting note on your instrument, C for example. Now assign yourself a series of intervals to sing - ‘up a major 3rd’, ‘down a half-step,’ ‘up a 5th’ - and so on:

Keep track of which notes you should be singing, and finally check your answer by playing your intended end note (Bb (Bb)) at your instrument to see if you stayed

And nothing ingrains the half-step / whole-step more than

accurate.

singing the diminished scale, which is built of an alternating half-step / whole-step pattern:

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Sight-singing is the one exercise in this book where I encourage you to come out of key, and actually works best if you travel freely through all 12 chromatic notes at random. The trick when doing this is to focus on one interval at a time. You must completely forget about the past, as any previous notes lingering on in your memory will distract you from the interval at hand:

Be creative - you can make sight-singing as easy or as Sight-singing can also be practiced away from your

challenging as you like. For example, you could sing

instrument - while walking, doing the dishes, or in the

arpeggiated chord progressions (breaking each chord into

shower. Of course you can’t check your answer at your

individual notes). Here’s how I would sing a ii - V - I chord

instrument, but you tend to know whether you’re right or

progression in C major, by arpeggiating each chord:

wrong. Here are some sample sight-singing melodies to get you started:

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And here’s a melody you could sing to ingrain the 6 priority intervals:

As a composer, I compose mostly away from my instrument. I’ll find myself humming something, and will start to question what I’m actually singing. So there’s there’s a fine line between sight-singing and composing - the 2 are very similar.

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intervals is the easiest part, and feels intuitive - you don’t THE

STEPPING-STONE

have to give much thought to it.

method

However, there will be times when you need to identify an interval with 100% precision - for example, when you’re not certain which notes are being played, you’re still

RELAXED PRECISION

testing out theories, and can’t do the intuitive relaxed

When tracking a melody’s movement, you do not have to

interval tracking. Or if a melody breaks out of the 7 note

identify every single interval with 100% precision - that

key and does something more complex, you’ll need to

would be a ton of work and would take all enjoyment out

identify where it went by measuring the size of the leap

of transc ribing mus ic by ear. The truth is that on ce you’ve

with 100 % precisi on. Typically, I might have to iden tify 1 - 2

identified where the melody is within the scale, you can

intervals in an entire song with 100% precision. And when

identify interva ls wi th ‘relaxed precision ’. You’re just

I need to do that, this what I do:

following it as it moves about through the 7 notes running up and down the scale mostly with a few small

BRIDGING THE GAP

leaps. Say that you hear a tension note resolve down a

If I need extra help identifying an interval in a melody with

half-step, which can only be F - E  - this tells you where

100% precision, I’ll use what I call the ‘stepping-stone

the melody is within the scale. Now when E moves up a

method’:

3rd, you know it’s moved to G   - you don’t have to get

Sing back the 2 notes you’re working on a few times, then

bogged down with whether it moved by a major 3rd or a

bridge the gap between those notes by adding a note in-

minor 3rd - your knowledge of scale tells you that E - G

between, breaking the interval in 2. Measure these 2

= minor 3rd. Or when G  moves up a step, you know it’s

smaller intervals separately, and then add them together

moved to A  - you don’t have to get bogged down with

to workout the complete interval.

whether it moved by a whole-step or a half-step. So when you know where the melody is within the scale, tracking

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For example, say you want to identify the interval in the

Or say that you want to identify the interval in ‘Riders On

first 3 notes of Gershwin’s ‘Summertime’ with 100%

The Storm’ by the Doors with 100% precision:

precision:

Sing back both notes repeatedly - ‘Riders On The - Riders Sing back both notes repeatedly repeatedly - ‘Su - mmer - Su - mmer

On The - Riders On The’. It sounds like some sort of 3rd,

- Su - mmer’. Now place a note in-between those notes -

but to distinguish whether it’s a major 3rd or a minor

try singing up a whole-step from the bottom note. From

3rd, we can use a stepping-stone. Again, lets sing up a

that middle note you’ll find you only have to sing up

whole-step from the bottom note, and see how much

another whole-step to reach the top note:

further we need to go to reach the top note:

Whole-step +  half-step = Minor 3rd

Whole-step + Whole-step = Major 3rd

FINDING THE 5 TH

I’ll often double-check a 5th (to make sure it’s not a 4th, which sounds similar), by singing up a major or minor chord - both add up to a 5th:

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up the scale in step, adding up the whole-steps and halfsteps to find the complete interval.

For example, in Louis Armstrong’s ‘What A Wonderful World’ World’   (click to listen), each verse starts with a pretty big leap - “I see Trees - of - Green”, “Skies of

Whole-step + Whole-step + Half-step = 4th

5th   but to double-check, I’ll Blue”, etc. It sounds like a 5th 

And since most melodies never jump beyond a 5th in a

see if I can sing up a major triad from bottom note - top

single leap, you’ll probably only have to sing 2 or 3 notes

note, to be sure:

in step.

QUESTIONS Look at the following stepping-stone combinations and workout the complete interval for each: CHOOSING YOUR YOU R PATH

1. minor minor 3rd + major 3rd

Of course the stepping-stone ste pping-stone method requires you to

2. 5th - half-step

know some intervals first for it to work, but the beauty is

3. whole-step + minor 3rd

you get to choose your path, so you can stick to intervals you’re confident with. Say for example you only knew the

4. octave - half-step

whole-step and half-step - well you could resort to singing

5. major major 3rd + minor 3rd + whole-step

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ANSWERS: 1. 5th 2. tritone (b5th / #4th) 3. 4th 4. major 7th 5. major 6th

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 C O U N T R Y S O N G S

  JAZZ

highway don’t don’t care tim mcgraw

summertime g eorge Gershwin

( melody)

crash my party luke bryan

in the mood glenn miller

sure be cool if you did blake shelton

pure imagination jamie cullum

somewhere with you kenny chesney

don’t stop the music jamie cullum

rewind rascal rascal flatts  flatts

save your soul ja jamie mie cullum

cop cop car keith urban

what a wonderful wonderful world louis armstrong

whatever she’s got go t da david vid na il

cantaloupe island herbie hancock

  CLASSICAL ca n on in d pachelbel four seasons recomposed max richter infra 5 max richter the nature of daylight max richter yearning mark bradshaw bradshaw

ww w . E A R T R A I N I N G E X P L A I N E D . co m

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 ROCK SONGS

 60’S 70’S 80’S SONGS

miss you you rolling stones

Money Mo ney Pink Floyd

When You Were Young The Killers

learning to fly Pink Floyd

heaven Bryan Adams

rhiannon fleetwood mac

Every Breath You Take The Police

Lean On Me Bill Withers

Wonderwall Oasis

Ain’t No Sunshine Bill Withers

Brave Brave New World Iron Maiden

In The Air Tonight Phil Collins

I Want To Break Free Queen

Another Day In Paradise Phil Collins

Beautiful Day U2

Broken Wings Mr Mister

I Still Haven’t Found What I’m Looking I’m  Looking For U2

out of touch hall

& oates

don’t stop believing believing journey  journey

miracle of love love eurythmics

maria maria blondie

Let it Be The Be The Beatles Hey Jude The Jude The Beatles Beatles band on the run paul run  paul mccartney Into The Mystic Va Mystic Van n Morrison

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R’N’B SONGS My Love Is Your Your Love Whitney Houston It’s Not Right But It’s Okay Whitney Houston

u remind me me Usher Confessions Part Part II Usher Halo Bey Beyonce once Bartender T-Pain Rock Your Body Body Justin Timberlake

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DANCE SONGS

 P O P S O N G S The power  of goodbye madonna

days go by dirty vegas Sun

say something a great big world

& Moon Above & Beyond

on a good day Above

pumped up kicks foster the people

& Beyond

Try Pink Can’t Sleep Above

& Beyond Electric Feel MGMT

Deepest Blue Deepest Blue speed of sound coldplay Ecstasy ATB

Talk coldplay The Scientist Coldplay Love Somebody Maroon 5 Dancing On My Own Robyn Be Mine Robyn handle me Robyn eyes without a face billy idol

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