the bigsecret to playing piano by ear.pdf

8/14/2019 The BigSecret to Playing Piano by Ear.pdf

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FREE REPORT FINALLY REVEALS...

The Astonishing Secrets Of The Most Talented,Most Knowledgeable, And Most Respected

Musicians In The World... And ow !ou "anAppl# The$ To !our %la#ing And S&ip !ears Of'nnecessar# Trial ( )rror...*

+ A "O-)R) I/SI) TIS 0R)) R)%ORT +

/

The Musician Transformation Pattern Pyramid Chart. Copyright 2010 HearandPlay.com. ll !ights !eser"ed.

Read this entire reportto discover, step-by-step, how you can put theMusicianTransformationsystem to work for you and start playing almost any song you hear...WITH!T "H##T $!"I%...

The %attern %#ra$id

!sing this chart, you can easily figout how to play &'( of the songs yhear. While all 1 ele$ents of tfor$ula are essential, the secret lies in understandi%ATT)R/S.* "imply put, sofollow predictable, recycled patterns

you master patterns and how twork, nothing will stop you frplaying almost any song you hear

virtually minutes)


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What Youll isco!"r Insi#"$

The reason I23e written #et another %Musician Transformation&report,e3en after releasing 456 pages in 0R)) $aterial a few $onths ago...

#!eport $1 % && pages' http'(())).hearandplay.com(mtreport.pdf*#!eport $2 % 2+ pages' http'(())).hearandplay.com(missingchapter.pdf*

The widening 7A%* between ad3anced and $ediocre pla#ers and whatkeeps mediocre ones stuck at the same level for years while others get to advancedlevels in months, let alone years.

ow to ta&e one ele$ent fro$ the entire for$ula 8hint9 %%*: and use it topla# al$ost an# song #ou hear on the radio...without having to rely on sheetmusic or any other reference.

ow #ou can put this entire Musician Transfor$ation s#ste$ to wor& for#ouand stop struggling once and for all to get to the ne*t level...

%art One9 The Reason I23e Written AnotherMusician Transfor$ation Report...

"o I+ve been on a mini ,-uasivacation since the last sold/outlaunch of my ospel MusicTraining CenterandMusician Transformation ree iveaway in pril of '0'.

1et me tell ya... that was a cra2y launch. The third time we offered the 0-disc $usicianTransformation to the world 3and it4s been off the market ever since --- 5#6 TW 7#6"8.

The first launch was 9ovember :, ''; and we sold out all 0,''' packages and actuallywent over by some hundred copies when you combine some of our e*isting $T% members

who wanted to grab theirs too.

"o that forced me to reorder them


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nd following that, I pretty much went $I... with the e*ception of a few $T% trainingshere and there but not nearly as much work as I+d normally have on my plate.That+s why I called it a >?ausi@ vacation.

Well, not really. "ince the last big launch, I4ve had two kids, which brings me to a whoppingthree. Aadyn, :. 1ayla, . nd Brendan, 0.

"o between being >stay-at-home daddy@ for the last year and tending to our private clubs3ospel $usic Training %enter C Aa22 Intensive Training %enter8, that+s pretty much whatI+ve been up to.

But here+s the thing...

I+m one of those guys that can+t stay put. #ven when I+m not working, I+m


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I+ve said this once and I+ll say it again...

Whenever I release a report or lesson to the public for free, please don+t value it as,6ust freeand throw it aside.

nd I know people do this because I+ll get the same ?uestions even on my private $T%

training calls... and I+ll basically say >go read my free report on practicingor my free reporton the 7 elements of the musician transformation formula+@ and they+ll come back thankingme many times over.

7eah, it feels weird to tell someone who+s paying me to go read something that I+ve given totens of thousands of people for free. But when I sit down and write something, I don+t maketwo piles and say >this is free@ and >this is a paid product.@ I give my all either way.

3Business advisors have warned me against giving away so much free content as I havehundreds of pages of stuff on my blog and tons of video lessons all over the web. They say,familiarity reeds contempt.In other words, when people get >too much of you for free,@they won+t respect you or they+ll devalue you or take you for granted. I+ve taken lots of advice,but I+ve gone with my heart when it comes to releasing free content online... and I+ve survived.8

in+t it funny how we humans areD

If we pay for something, we >may@ use it 3some people still won+t8. If we get it for free, there+sno urgency to get to it because it didn+t cost us anything.

$E# $# F6$I"#.

ONT VIEW MY RESO'R(ES T)AT WAY.

"o act as if you paid G' to get this report. It, along with the other two I released, are worthT 1#"T triple that amount, if not more.

"o to celebrate my transition back to work, I+m sitting down and restarting my creative enginewith this insightful report. I may be rusty but I won+t stop until I+ve gotten my points across toyou.

"o with that, I+ll say )n


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%art Two9 The Widening 7A%* =etweenAd3anced ( Mediocre %la#ers And What

Keeps Mediocre OnesStuc*...

There+s no doubt about it --- there+s definitely a gap between the best players and everyoneelse.

9ot a small gap.

huge gap.

In my estimation, &'( of players are at the same average level.

They play. They fiddle around. They sound decent. They can figure out basic songs. They stick

to the same basic rules of playing everything. They use the same chords the same way overand over. 9o variation. 9o risks. 9o freedom.

nd those are the >good ones@ in themediocre 809 group. The >bad ones@ can+t play a lick...can+t pick up a song... can+t find the key to a song... no coordination... no rhythm.

9ot that they don+t want it as bad as the top musicians --- it+s


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3There+s much more to that discussion but you+ll need to check out the first report to see whatI said about it.8

But I+m not here to put advanced musicians on the spot again. 3"ome of them didn+t like howI e*posed them in my first report8.

fter all, not all of them are that way. There are some kind ones out there who don+t mindspending time with the up-and-comers. If you+ve found one, value them.

"how them you appreciate them because from what I+ve heard time and time again all acrossthe country, this is a rare trait.

"o how do some musicians make it to an advanced, professional level while others stay stuckbehind, thus creating this gapD

Well, let+s look at the word 7A%*for some possible answers 3e*cept I+ll spell it 7A%%*forthe purposes of my illustrations8.

08 7ou either naturally have the gift8 7ou have access to top musicians 3if you can88 7ou take action and practice productively

Without ?uestion, whether you have a natural gift or get access to top players who shareselflessly with you 3or both8, >5 is a re?uire$ent for e3er#one.

1et+s talk about this idea of ,giftedness first.

08!ou ha3e a gift

I won+t kid you. There are folks who were born to do what they do. nd there are others whoaren+t as naturally gifted in their chosen arena but train so much they become masters at whatthey do.

I won+t say everyone has the >music gift.@

I will say anyone can get to a level of masterywith hard work and dedication because most ofus are given the basic skills to accomplish anything we want... whether we are naturally giftedat it or not.

In fact, some of the best the world has ever known started off on the polar opposite of the

>talent@ spectrum and worked their way up. It+s more than possible.

But let+s talk about ,the gift.

There+s a parable in the bible where Aesus talks about a master who prepares to go on a longtrip so he summons three of his servants to him.

He gives one servant J talents 3e?uivalent of about GJ'''.'' today8. He gives anotherservant talents. He gives the last servant 0 talent.


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He e*pects them to do something with what he has entrusted them with.

Well, he finally returns from his long trip. The servant he gave J talents returns with a total of0' talents. In other words, he doubles his master+s investment)

1ikewise with the servant who was given talents. He brought back L.

But the servant who was only given 0 talent... what did he doD He dug a hole in the groundand hid the talent. He didn+t do anything with it. I guess he was scared since he only had 0 anddidn+t want to risk the little he had. fter all, the master was known to be hard on folks.

9eedless to say, the master wasn+t happy about the last servant+s attitude.

He not only scorned him by calling him la2y, but he took away the one talent he gave him. Heleft the servant with 9THI9. What+s more, he gave the talent he took away to the servantwho brought back 0'.

3' talents to 00... there+s a >)idened gapif I+ve ever seen one8.

9ot only that but he cast him away into darkness.

What does this have to do with youD

)-)R!TI/7.

9ow we+re literally talking about money in this parable but the implications are wide. Imaginethe word talent really meaning >talent@ --- ao"e/a"eragenatural proclivities, attributes, andskills you possess. 3In fact, I believe that+s where the current use of the word is derived, butdon+t ?uote me on that one)8

"ure enough, some people have more talents than others. "ome >0',@ some >J,@ some [email protected] or take8.

It+s not what you start with, though, its )hat you finish )ith.

"ee, everyone comes here with "$#THI9.

nd if you think you+ve got nothing... hmmm --- if you can move your fingers and if you canhear the siren of an ambulance passing by, count your blessings. "ome can+t do both.

ifts can be as simple as that or as elaborate as the servant with ten talents. But it doesn+tmatter because the common thread is what you do with them.

Imagine the best musician you+ve ever heard...

If they, in fact, did have a natural gift or inclination for music 3which is not always the case8,the gift still had to be honed.

It had to be cultivated.


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The guy who brought back 0' talents had to work at doubling the original J. It la2y@and lost it.

So if #ou don2t use it, #ou2ll lose it.

I bet if the guy who was given J talents to start came back with no gain, he would have beencast out too.

"o don+t sit around sucking your thumb talking about who has natural talent or who doesn+t.!ou ha3e what it ta&es.

od doesn+t do for you what you can do for yourself. He only does what you can+t do. That+swhy Aesus told the disciples to remove the stone so he could enter and raise 1a2arus from thedead.

=on+t you think Aesus could have removed the stone, as powerful as he isD fter all, that+snothing in comparison to raising a dead man. But he knew the disciples could remove thestone so he re?uired them to do what they %!1=:T;!


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"ure, if you are e*tremely talented, you can go from virtually unknown right to the center ofthe circle. This happened to Aairus $o2ee 3the young guitarist in our upcoming advancedguitar course8.

6ight out of high school, his ama2ing gift simply >made room for him.@ He didn+t have toknow an insider because after anyone heard him play publicly, they were hooked. 7ou can

find samples of him on our youtube channel http//www.youtube.com/hearandplay

He forged his way into the insider circle, into the industry. He+s played for Aanet Aackson,Toni Bra*ton, Teddy 6iley, antasia, and many more. ew can do that.

nd what+s more, once you+re in, now you have access to learn from all the other top 0(musicians you+re hanging around. They call it shedding.*

7ou+re hanging out after a concert and you hear a new run or chord voicing they+ve played andyou immediately say, ,hey> let me ha"e that.

nd they gladly share with you because they know you can return the favor. They aren+t goingto shed with you if you have nothing to bring to the table. It+s a catch-.

I mean, some will share because not all the top players e*hibit these characteristics... but Ican tell you from e*perience --- it seems to come with the territory. Flay for a few celebritiesand they start thinking they+re one too)

$ost musicians would be laughed out of this circle unfortunately. They can sniff you out afterreal players@ from this group.

If you+ve ever been to a musical, they+re lined up along the walls or even hanging out in the>musicians bo*@ or backstage if it+s a huge mega church.

9ow circles.@ I only point out 1os ngeles becauseobviously it+s a hub for music and entertainment and close to where I live.

But even in small rural towns, there are the >known musicians@ and then there are theforgotten>>rest of them.@

What+s interesting, though, is that I+ve seen singers, who were >connected@ because of their

brilliant singing ability, shift over to playing the keyboard from scratch... all because they hada professional head start from afello) insider.

I+ve been baffled to hear someone accompany themselves on the piano 3with very nice chordsand progressions, not beginner stuff8 --- only to find out they+ve been playing for


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Hey, but when you+re an insider and you have access to the help of professionals, that+s notimpossible.

theres other )ays to gain access.

7ou can >buy access@ from a private instructor.

That is, if they teach what you want to learn.

act is, there are tons of teachers out there. But maaccess,@ a ma


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That+s where the rubber meets the road.

The truth is... you can

a: o things rightb: o the right things

There is a difference between the two. Both are important.

When you practice, it+s important to do things right.This is called efficiency.

That+s why I always tell people to slow things down to >turtle speed.@ =on+t be caught up ondoing everything at the actual speed it+s performed. 7ou will eventually get there.

But for now, you must get in the habit of slowing things down so that your fingers get used tothe movements.

"urely, the mind is a powerful device. It has the power to do hundreds of millions of thingsF#6 "#%9=) 7es it+s true.

But that ain+t so true for your physical bones and muscles. That+s why the saying goes$indo3er $atter*... not >matter over mind.@

"o when you slow things down, you give your muscles the opportunity to memori2e the "$#movements over and over.

R)%)TITIO/ IS T) MOT)R O0 SKI.

But watch this...

Because most musicians try to play things fast from the get-go, they never give their musclesthe opportunity to memori2e 9# %66#%T way of doing the movement because every timethey play it, they play it a different way.

r worse, they fumble over notes and never do them accurately. "o they never achievemusclememory.

Heck, they probably e*perience muscle confusion... a techni?ue that may help bodybuildersbut it won+t do you well on the piano.

"o practice,@ it+s possible that you+ve setyourself back a few steps rather than gained from the practice. Imagine practice that actuallyharms your growthD

"o that+s an e*ample of OI/7 TI/7S RI7T.


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That+s you e"en do e?ercise ,C perfectly. =ou dont miss a eat.

Have you done yourself any goodD

7es, you did one of the e*ercises right.

But you failed to do the right things. There+s a slight difference.

I can play manumber system,@ playing in all 0 keys, and howpatterns work... then I+ve missed the boat.

I+ve done something right but missed the right thingto focus on. The order of these words ise*tremely important.

I know these are way out analogies but many people focus on doing things right


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"o with your gift 3large or small8, access to other people+s knowledge/e*perience, and goodproductive practicing, you+re sure to minimi2e the gapp.*

But that+s up to 7!.

nly you can decide if you are sufficiently fed up with being stuck at the same level while

others pass you up and if you+re finally ready to take action to radically transform yourplaying.

nly you know if you+re la2y or disciplinedO smart or dullO up for the challenge or defeatedalreadyO a loser or a winner, someone who is serious and committed to success.

%art Three9 ow To Ta&e One )le$ent0ro$ The )ntire Musician Transfor$ation

0or$ula And 'se It To %la# Al$ost An#Song !ou ear...

If you+ve read my first two $usician Transformation reports, you+re already familiar with thefive elements of the formula

1* Bundamental Bluency2* Chordal Command* Pattern Proficiency&* Dong Dolidity

7* Ear Efficiency

The $usician Transformation 0-disc package I gaveaway for free to everyone who


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That+s why you have musicians who canplaybut don+t know what they+re playing. r thosemusicians who make every song sound the same because they only know so many chords.

Worse, those musicians who can only play in a few keys. If you start singing a song in >#ma


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It+s your ear musician@ to understand, play, and recogni2e those patterns when youhear them.

s simple as that.

1et+s start with the basics.

When you+re listening to a song, your first goal is to establish the ma


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But more on the chart in a second.

!nderstand this first

There are P uni?ue notes that make up a maaway from home.@

nother one might function as the >on my way home@ degree 3or tone8 of the scale.

There are other roles like >getting ready to be on my way home@ and >at my cousin+s house@but what+s important is that you understand how each tone of the scale functions. This willshave years off your learning curve.

In my first report at http//www.hearandplay.com/mtreport.pdfyou learned there are chordsmost likely to occur on each tone of the scale. Here+s a recap of that

0sttone Ma


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Here are the answers

In % ma


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But wait, there+s more) 3sounds like an infomercial huhD8

There arepredictale mo"ementsthat happen over and over again in music.

What that means is if you+re in b ma@8, there are only so many places to go from .

f course, song writers can do what they want but e*perience shows the ne*t chord after isusually going to be a

Chord ased on ,@Then, if that doesn+t work, the ne*t option is probably a

Chord ased on ,CIf that doesn+t work, the ne*t option is probably a

Chord ased on ,E or ,If that doesn+t work, the ne*t option is probably a

Chord ased on , or ,FWhere did I get those optionsD

1et+s turn to my >Fattern Fyramid@ chart below for the answer


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I started at the base of the >Fattern Fyramid,@ which is fourths.*

By far, this is the most common movement in music.

9ow, before I move any further, you can call them fourths or fifths. In fact, it depends howyou look at it.

"ee, going up a >diatonic@ fourth is %=#

But notice what happens when I go down a >diatonic@ fifth %B

:ote' Fiatonic means related to the ma6or or minor scale. Do these inter"als ao"e arefourths and fifths created y notes of the C ma6or scale #as opposed to other types li3e,diminished fifths> )hich use a ,C and ,> a note outside the C ma6or scale*.

"o going from % up to is a fourth but going from % down to is a fifth.

But here+s the thing...

When you play by ear, we sometimes go up to ... we sometimes go down to ... we have thatfreedom. We aren+t reading sheet music or borrowing someone else+s homework. We+recreating out of thin air 3oh the up on game,@ you know that this can be considered a fourth if you godown from % to %B8. Aust not today.

Back to >fourths.@

This is $usic2s fa3orite $otion.

$ais it because you don+t understand thepo)er of fourthsG

In the ne*t couple of pages, I+m going to e*plain each of these

a8 ourth movementb8 ifth movementc8 "econd movement 3aka N >stepwise motion@8d8 Third movement


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0O'RT MO-)M)/T9

or this section, I+m going to use a chart you+ve probably seen in past lessons. It+s the famous,%(ircl" of Fifths -or Fourths.&

9otice one arrow points to the left 3counter-clockwise8 and indicates >Lth@ while the otherarrow at the top points to the right 3clockwise8 and indicates >Jth@.

or this section, obviously we+re going to focus on the >fourths@ side. We+re going to go theopposite direction of a clock... counter-clockwise.

That is, from

"0=b)bAbb7b=)A7

These are what we callfourth mo"ements #or fourth inter"als*.

6egardless of what key you+re in, this will always be your most popular movement in songs.

In other words, >%@ will always flow to >@ the most. If you count up every song ever made,you will find that after any kind of >%@ chord is played, the probability of an >@ chord comingne*t will be higher than any other note.ont matt"r /hat *"0 0our" in.

fter >%@ comes >.@ Foint blank.


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fter >@ comes >Bb.@

"ame for all the other notes, too.

"ure, they carry different >roles@ in different keys.

In the key of % ma-J-0@ is a common progression that ends a song. 7ou+ll find it at the end of almost #5#67song you play. 3It+s that popular8. In the key of % ma-J-0@ progression will use thesebass notes B 7 B ".

Well... circle an# three notes that are neighbors on the circle chart and there2s#our @C1CD;

o ahead) Try it)

%ircle the keys of %, , and Bb on the circle 3remember... we+re going %!9T#6-%1%EWI"#... the opposite direction of how a clock would tick8.

%, , and Bb make up the keynotes of a >-J-0@ in the key of Bb ma


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%ircle another notes... how about )b, Ab, b.

Those three notes make up a >-J-0@ chord pattern in the key of =b ma


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nd this ties right into the previous section where we studied what chords work on each toneof the scale because once you figure out the keynotes for your >-J-0,@ -J-0@ in the key of =b ma%,@ 3and its movement to >#@8, every tone in thispattern moves according to the circle of fourths chart --- we call this,circular mo"ement.

9ote The % to # is a third... it+s in our pattern pyramid but not as common as fourthmovement, as you can see. The ratio is L to 0 in this e*ample as we have L movements that


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move in fourths to only one movement that moves in thirds. nd in my e*perience, it+s prettymuch this way across the board.

Aust pop out your circle and find where these notes appear.

ma2ing) They are all ne*t door neighbors)

What if I told you most songs move in this same wayD gain, we+re back to the,80(20 ParetoPrinciple.

I can+t tell you if it+s e*actly &'( of songs but I+ll estimate that ma


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The " "ircular Ma


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But here+s the ama2ing part...

When you learn every maear@ musicians know or understand.

Aust for fun, in the key of % maP--:--J-0-L@pattern 3aka N $y >circular scale.@8

Tone M Bass note 3left hand8 %hord 3right hand8P B K = K # M K = K : K % K # = M K % K #J K Bb K =0 % # K Bb K =L # K K %

When you+re playing this, doesn+t it feel like a circleD #ven if you didn+t have all the greatknowledge you+ve learned in this report, doesn+t it feel@ like you+re going in loops orsomethingD

%ircular movement 3aka N >fourths@8 is music+s favorite motion) =on+t forget it)

"o make me a promise

,Iermaine> solemnly s)ear to analyJe all the songs 3no) and to e a)are of allthe circular ,fourth mo"ements m already playing. nd )hen learning ne) songs> )ill rememer this magical circular direction and try it first )hen m attempting tofigure out )hich chord to play ne?t. no) 3no) there is a method to the madness.

Next up:

FIFTH

MOVEMENT


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0I0T MO-)M)/T9

7ou hear a lot of fifth movements in pop and rock music.

%onsider the circle of fifths again.

But this time, we+ll actually go in the same direction a clock would 3as opposed to going theopposite direction when we studied fourths8.

While this movement isn+t as popular as its fourth counterpart, you+ll still find it representedin many songs.

Haven+t you heard the following progression in a ton of rock songsD 3o ahead and try it8...

" $a


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Here they are on the circle of fifths

They+re all neighbors) We+ve simply changed our direction to clockwise as opposed tocounter-clockwise 3which is the direction of >fourths@8.

39ote While we+re on it, going counter/cloc3)ise from >@ to >=@ to >@ to >%@ is a verypopular !6TH movement. It+s called a >:--J-0.@ But we+re not talking about fourths right

now... we+re talking about fifths... but


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#*ample ,When N you+re N not N strong. I+ll N be N your N friend@" ) 0 0 ) "

"ee how the bass notes moved in stepsG

What+s more, you can actually take the chords you learned earlier and place them on thesebass notes, giving you

>When N you+re N not N strong. I+ll N be N your N friend@"$a< $in )$in 0$a< 0$a< )$in $in "$aAesus is 1ove,@ andmany more. HI9T !se diatonic chords on these tones and you+ll be able to play allthese songs8.

:ote' The numers come from the scale. f youre in C ma6or> a ,1/K is simply ,C going to,@.

,K/A, is ,@ going to ,. ,2/ is ,F going to ,E.

Thats )hy its so important to 3no) your ,scales as numers #all co"ered in the first t)oreports*.

MIEI/7 ST)%WIS) MOTIO/ A/ "IR"'AR %ATT)R/S

"ay you+ve picked out the bass to a song in the key of %.

"ay your bass is

" B = B A

That means it starts on some type of chord on "... then moves to some type of chord on =...then finally to some type of chord onA. That+s clearly stepwise motion or second inter"als. %moving right ne*t door to B... and B moving right ne*t door to the ne*t tone of the scale, .

Enowing what you know about circular movements and how popular they are, you can insertchords into this progression and it would sound even better)


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Why don+t we add )*after the =F*

WhyD

Because if you look at the circle of fifths, >#@ is actually in between >B@ and >.@

B R )R R = R R % R

t the moment, the song is going from B to , which is fine. It+s #@chord after the B chord and it will give us an even stronger connection to the chord.

% R B R )R

"o essentially, the >%@ to >B@ is still moving in steps but the >B@ to >#@ to >@ is circularmovement)

This is e*actly how songs like ,Than3 =ou


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It takes the ear to actually hear that the >#P@ 3aka ># dominant P@8 works better than the >#minor P.@ nd if both can work, simply use one the first time around and use the other optionwhen you repeat the song...

%A!I/7 =! )AR IS A A=O'T A-I/7 O%TIO/S.

h yeah, for some of you who don+t know your chords yet 3cough cough, 7! 9##= TH# 0-=I"% $!"I%I9 T69"6$TI9 %11#%TI9... and specifically the >%hord %ounty@dvd8, here are the chords written out

" $a


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The e*ample above uses the notes of the " $a=@ to >@


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If you understand patterns and movements, you+ve unlocked the key toplaying y ear.Withthe e*ception of a few key things, all other elements point to this)

7ou learn your scales so that you+re able to know the number system.

7ou use the number system to learn your chords so that you+re able to put them into patterns.

7ou use both the number system and chords to form these common patterns that are foundin most songs.

7ou collect and get good at recogni2ing these common patterns as you learn more and moresongs.

7ou reali2e songs follow the same patterns and once you learn all the popular ones, you+reset) There won+t be many new ones as every song will >borrow@ from the same pool.

That2s Wh# I23e "reated The 7ospel Music Training"enter... 0or Musicians Who Want To earn All The"o$$onProf"ssionalSong %atterns*

And Once Again, I Will =e Opening The oors To This)Gclusi3e Training "enter And 7i3ing Awa# M# [email protected]@Cisc Musician Transfor$ation %rogra$ 0OR 0R));*

Write this down9Da"e this date57our last chance to try the training center and also receivethe 0-disc set as a special perk will be on Thursda#, /o3e$ber D, @D@.

5isitwww.hearandplay.com/mtfor full details.

1et+s face it.

etting to the ne*t level ain+t gonna happen by hanging around the local church musician.

M08 $ost >inner circle@ advanced musicians don+t wanna show you anything, especiallyif you can+t help them. 7ou+re not welcomed in their club.

M8 If they do show you something, they aren+t e*pecting you to pick it up. That+s why

they play it so fast and will rarely wait for you to write anything down or internali2e it.

M8 Teachers don+t know the real >nitty gritty@ gospel stuff. They can try to repackage>blues@ and >soulful@ playing as gospel but it


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skills you need to play in church. 7ou will gain skills, don+t get me wrong. But you+llhave everything B!T the real nitty gritty stuff you need to playrealgospel music.

nd that+s e*actly why the +os2"l Music Trainin3 ("nt"rand M'SI"IA/TRA/S0ORMATIO/resources are in such demand.

These are the only resources that actually show the #9TI6# F6%#"" from the basics andfundamentals all the way to advanced ways to play songs. It is truly > to U.@

Before this program, there has never been a >real@ gospel resource that delivers realimmediate results.

There2s such a buLL about this alread# fro$ the past three launches a couple#ears ago that it will probabl# sell out on Thursda#, /o3e$ber D, @D@, when it2s

finall# reCreleased 8after @ #ears of being off the $ar&et:;

A0T)R A, I2M 7I-I/7 AWA! TIS J@. %A"KA7) 0OR 0R)) CCC AS AR)O%)/I/7* %)RK 0OR )-)R!O/) WO IS WII/7 TO TR! T) 7OS%)

M'SI" TRAI/I/7 ")/T)R. T)S) %A"KA7)S WI 7O 0AST.

-ON A VERY SERIO'S NOTE$ If 0our" not s"rious a4out 0our 2la0in35 #o not6oin an# canc"l th" !"r0 n"7t #a0 6ust to 3"t m0 2ac*a3". Im not int"r"st"# in a

4unch of %fr""4i" s""*"rs.& I /ant s"rious /inn"rs onl0. This is cl"arl0 to2romot" m0 trainin3 c"nt"r an# if a 89::.:: %;9


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)3er# - co3ers one ele$ent of the for$ula9

Fun#am"ntal Factor0is where you master the 0'/AM)/TA0')/"!* strategies discussed earlier. It+s going to take you throughliterally everything you need to know to build a solid foundation as agospel musician.

fter this =5=, you+ll have that rock solid base upon which everythingelse will be built.


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MA/! 7OS%) M'SI"IA/S SKI% T)S) 0'/AM)/TAS A/ IT "A'S)ST)M TO =) ST'"K 0OR)-)R.

9ot you.

(hor# (ount0is where you master the "ORA "OMMA/*techni?ues and principles we talked about.

7ou+re going to learn #5#67 %H6= used in gospel music. ll of them.If it+s common and used in gospel music, it+s in this course.

The best part is that you+re going to learn all the shortcuts. 7ou got tosee a glimpse of how all chords are related. Chord Countywill delveinto each one, step by step.

Patt"rn Para#is"is where you master the %ATT)R/%RO0I"I)/"!* concepts discussed heavily in this report.

Imagine a =5= dedicated


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use what you know to 9#5#6 play the same thing, the same way... TWI%#) 3Flaying by ear isabout having freedom... you don+t have to play your songs the same way every time.8

Whewww) There you have it...

And that2s

the bigsecret to playing piano by ear.pdf

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