有关于听力训练的音频CD，作者David Lucas Burge。资源包括24节课程Master Class，两节Perfect Pitch for Children，一节Q&A ，以及Power Points。MP3格式。我非专业，不敢贸然翻译，如有不对的地方希望指出。在后面摘录一些有关这个资源的介绍大家看看。您也可以上官方网http://www.perfectpitch.com/查看相关介绍。
Learn to recognize EXACT tones -- BY EAR! The #1 best-selling ear training method, as seen in major music magazines for 20 years and verified by research at two leading universities.
An amazing discovery into your personal musical talent.
In classical times, Bach, Beethoven, Mozart, Chopin -- and most all the musical greats -- had Perfect Pitch. From classical to pop to rock to jazz, many current and recent superstars also possess (or did possess) Perfect Pitch: Frank Sinatra, Leonard Bernstein, Barbra Streisand, Julie Andrews, Andre Previn, Stevie Wonder, Nat King Cole, Miles Davis, Ella Fitzgerald, Glenn Gould, Yngwie Malmsteen, Eric Johnson, Tommy Mars, Bela Bartok, Jascha Heifetz, Paul Shaffer, Yo-Yo Ma, Yanni -- the list goes on and on.
In the general population, Perfect Pitch is rare. But the further up the musical ladder you climb, the more commonplace the ability becomes. For example, at the Julliard School of Music you'll find about 10% of the students with Perfect Pitch. A typical symphony orchestra will boast 20-40% of its membership with Perfect Pitch. Surveys indicate that half of today's most popular recording artists have Perfect Pitch, rising to 87% for top concert performers.
Professionals rate a good sense of pitch as the most valuable element of musicianship -- higher than any other essential, including good rhythm, technical facility, accurate memory, intensity discrimination, and creativity. Even with years of formal training and the finest instrument, one's success and enjoyment always hinges on one's ability to hear.
The Perfect Pitch Ear Training SuperCourse contains 8 audio CDs (or cassettes) plus easy handbook. You will learn the fascinating secrets behind the legendary ability of Perfect Pitch -- the prized "super ear" of the world's greatest musicians, the master key that enables you to:
+ recognize EXACT tones and chords -- BY EAR! + sing correct tones -- without a starting pitch + play songs by ear after listening to them + compose music in your head + perform with confidence, increase your powers of memory + sight-read and sight-sing with precision + enjoy richer perception, finer music appreciation
The proof? You will actually hear for yourself -- with YOUR OWN EARS!
It's a curious experience the first time you can tell that a vocalist hit a high C, or when an ensemble has drifted flat -- just by listening with your own ears. Singers find Perfect Pitch invaluable for sight singing, locating obscure pitches, singing in tune, and producing a correct pitch out of thin air.
Glancing at a page of sheet music, others may see only black dots. But with Perfect Pitch, you can mentally hear how each pitch sounds.
Listening to music, you can hear that a piece is in the key of G major, and you can follow the chords by ear: E minor, A major, D dominant seven, etc. -- a vital tool to zero in on voice lines within layers of melody and harmony.
When you know each pitch by ear, musical tones become yours to command. For example, if you want to play by ear, your ear does the work for you -- instead of searching for desired tones by hand.
Do you ever have a new melody or new chord sequence come to your mind, unexpected, in a flash of inspiration? When your ear can identify tones with Perfect Pitch, you can take that music out of your head simply by listening to your "inner radio."
Perfect Pitch (known in scholarly circles as "absolute pitch") also adds a higher aesthetic appreciation. Acoustical psychologist A. Bachem found that "particular characteristics of certain keys, e.g., the brilliancy of A major, the softness of D flat major, can only be appreciated fully through absolute pitch." This richness of sound extends even beyond the musical sphere into day-to-day living. For example, as your ear becomes more alert, you suddenly find that you can easily recognize voices on the phone, or quickly pick up languages and foreign accents.
Music is a hearing art. When you develop your ear, you touch everything in music. Every possible avenue of skill and talent is ultimately linked to your ear.
Imagine the talents your Perfect Pitch can open for YOU -- to advance your playing, your singing, your own creativity and confidence. But then again -- how will you ever know until you experience Perfect Pitch for yourself?
Don’t wait and wonder. Order your own Perfect Pitch Ear-Training SuperCourse -- a lifetime gift of music to yourself. Do it now -- and hear it with your own ears!
P.S. Special Offer: To celebrate Version 2.0 we’re now giving away TWO free CDs!!
Excerpted from The Perfect Pitch Ear Training SuperCourse by David Lucas Burge. Copyright © 1999. Reprinted by permission. All rights reserved
Chapter 1 How I Discovered the Secret to PerfectÊPitch
It all started in ninth grade as a sort of teenage rivalryÊ.Ê.Ê.
I would slave at the piano for five hours daily. Linda practiced far less. Yet somehow she always seemed to have an edge that made her the star performer of our school.
It was frustrating.
What does she have that I don't? I'd wonder.
Linda's best friend, Sheryl, sensed my internal competition. One day she bragged on and on about Linda, adding more fuel to my fire.
"You could never be as good as Linda," she taunted me. "Linda's got PerfectÊPitch."
"What's PerfectÊPitch?" I asked.
Sheryl gloated over a few of Linda's uncanny abilities: how she could name exact tones and chords Ñ by ear; Êhow she could sing any pitch Ñ from memory; Êhow she could play songs Ñ after just hearing them!
My heart sank. Her fantastic EAR is the key to her success. How could I ever hope to compete with her?
But later I doubted Sheryl's story. How could anyone possibly know F# or Bb just by listening? An ear like that would give you a mastery of the entire musical language!
It bothered me. Did she really have PerfectÊPitch? I finally got up the nerve, approached Linda, and asked her point-blank if it was true.
"Yes," she nodded to me aloofly.
But PerfectÊPitch was too good to believe. I rudely pressed, "Can I test you sometime?"
"OK," she replied cheerfully. Now she'd eat her wordsÊ.Ê.Ê.
My plan was ingeniously simple: I picked a moment when Linda least suspected. Then I boldly challenged her to name tones for me Ñ by ear.
I made sure she had not been playing any music. I made her stand so she could not see the piano keyboard. I made certain that other classmates could not help her. I set everything up perfectly so I could expose her PerfectÊPitch claims as a ridiculous joke.
The tension mounted as I plotted my testing strategy. Linda appeared serene. Then, with silent apprehension, I selected a tone to play. (She'll never guess F#!)
I had barely touched the key.
"F#," she said.
I was astonished.
I played another tone. She didn't even stop to think. Instantly she announced the correct pitch.
I frantically played more tones, skipping here and there all over the keyboard. But somehow she knew the pitch each time. She was AMAZING Ñ she knew tones as easily as colors!
"Sing an Eb," I demanded, determined to mess her up. She sang a tone. I checked her on the keyboard Ñ she was right on!
Now I started to boil. I called out more tones, trying hard to make them increasingly difficult. Still she sang each note perfectly on pitch.
I was totally boggled. "How in the world do you do it?" I blurted.
"I don't know," she sighed.
And to my dismay, that was all I could get out of her!
The dazzle of PerfectÊPitch hit me like a ton of bricks. My head was dizzy with disbelief. Yet from that moment on, I knew PerfectÊPitch was real. I couldn't get itÊ.Ê.Ê.
"How does she DO it?" I kept asking myself. On the other hand, why can't everyone recognize tones by ear? It dawned on me that most musicians can't tell a simple C from a C#, or the key of AÊmajor from FÊmajor! I thought about that. A musician who can't tell tones by ear?! That's as strange as an artist not knowing the rainbow colors of paints on his palette! It seemed odd and contradictory.
I found myself even more mystified than before. Humiliated and puzzled, I went home to work on this problem. At age 14, this was a hard nut to crack.
You can be sure I tried it myself. I would sweet-talk my three brothers and two sisters into playing tones for me; ÊI would try to name them by ear. But I found it was a guessing game I couldn't win.
I tried to feel the "highness" or "lowness" of each pitch. I played tones over and over to get them to stick in my head. Day after day I tried to memorize those elusive tones, but nothing worked. After weeks of pure nothing, I still couldn't get it.
I had to admit that Linda had an extraordinary gift Ñ the ultimate ear for music, a master key to many talents. I wished I had an ear like that. But I realized it was way beyond my reach.
So finally, I gave up. Then it happenedÊ.Ê.Ê.
It was like a miracle. A twist of fate. Like finding the lost HolyÊGrailÊ.Ê.Ê. Once I had stopped straining my ear, I started to listen NATURALLY. Then the incredible secret to PerfectÊPitch jumped right into my lap.
I began to notice faint "colors" within the tones. Not visual colors, but colors of pitch, colors of sound. They had always been there. But this was the first time I had ever "let go" Ñ and really listened Ñ to discover these subtle differences.
Soon Ñ to my own disbelief Ñ I too could recognize the tones by ear! It was simple. I could hear how F# sounds one way, while Bb has a different sound Ñ sort of like "hearing" red and blue.
The realization struck me: THIS IS PERFECTÊPITCH! This is how Bach, Beethoven, and Mozart could mentally envision their masterpieces Ñ and know tones, chords, and keys all by ear Ñ by tuning in to these subtle "pitch colors" within the tones. Ê Story continues...
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