Burge method -- is it snake oil?

Thoughts and responses regarding the research at acousticlearning.com.
SunFishSeven
Posts: 37
Joined: Sun Jul 04, 2010 12:18 am

Burge method -- is it snake oil?

Postby SunFishSeven » Wed Jul 27, 2011 7:48 am

I have just been looking through http://www.perfectpitch.com/

it looks like the guy is a genius in marketing! but I can't find anywhere what is the actual content of his method.

I can't find a single paragraph from searching Google

there are a few reviews that look like either (1) the method actually works or (2) they have been written by the man himself, or at least part of his PR team

I'm guessing (2), but does anyone actually know what is the content of his method?

TS
Posts: 168
Joined: Sun May 07, 2006 4:58 am

Re: Burge method -- is it snake oil?

Postby TS » Wed Jul 27, 2011 9:40 am

Chris had posted a full review of the Burge method on this site, but he later decided to take it down. Now that you asked about it, I just remembered that a long time ago I had taken copies of Chris' site, and I still have those copies.

The review is in the form of postings like the rest of the site. There's one long piece written about every chapter of the Burge course, and at the end of every piece there is a summary of the lesson and the exercises. I will post the summaries here, so you can see what the exercises are like.

TS
Posts: 168
Joined: Sun May 07, 2006 4:58 am

Re: Burge method -- is it snake oil?

Postby TS » Wed Jul 27, 2011 9:42 am

These are the summaries from Chris' review. VR, or "verification round", means that you must guess the tones correctly 20 times in a row. Passing a verification round supposedly means you are ready to move on to the next exercise.

The summaries begin here:

Lesson One: 26 minutes
<b>SUMMARY:</b> Perfect pitch is a natural human perception that will improve your performance, composition, and appreciation of music. Most people have a misunderstanding of what perfect pitch is, and that's why they can't learn it. In order to learn perfect pitch, we have to learn what it is we're listening for, and then train ourselves to hear it.

Lesson Two: 24 minutes
<b>SUMMARY:</b> "Color hearing" is what happens when you listen to the inherent quality of pitch sensations, irrespective of their relationship to other sounds or pitches.

Lesson Three: 37 minutes
<b>SUMMARY:</b> Pitch color is the sound quality of a pitch, by which you can differentiate pitches irrespective of their being "high" or "low". Because you've never really paid attention to this sensation before, you can't force yourself to hear it now; you must relax in order to experience the new feeling without your intellect getting in the way. It's by understanding this sensation that you will be able to recognize and reproduce musical notes.

Lesson Four: 14 minutes
<b>SUMMARY:</b> Don't force yourself to work at the exercises, just relax and let them happen. If it doesn't seem to be working, just keep practicing and you'll eventually get it. Don't listen to people who tell you it's not worth it.
<b>EXERCISES:</b> Draw a representation of the musical scale using a different color for each note.

Lesson Five: 42 minutes
<b>SUMMARY:</b> You need to develop pitch perception gradually, without rushing. Do the exercises on your own instrument, with a partner, for about 20 minutes every day. Use the middle range of the scale.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play major and minor thirds using only white keys. Sing the individual notes.
SOLO GUITAR:
Learn to recognize each string by ear.
Play minor and major thirds (three or four frets) and sing the individual notes.
SOLO OTHER:
Listen to a C, then a D, and meditate on each pitch.

Lesson Six: 28 minutes
<b>SUMMARY:</b> Don't worry if your instrument is out of tune. Do the exercises easily and gently, and "cheat" if you have to. Always correct your mistakes.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play major and minor seconds using only white keys. Sing the individual notes.
Play a chord of any two tones that are within an octave of each other. Sing them. Pass one verification round (VR).
Play a chord of any two tones that are more than an octave apart. Sing them. Pass one VR.
Play a chord of any three tones within one octave. Sing them. Pass one VR.
Play a chord of any three tones spread out over octaves. Sing them. Pass one VR.
SOLO GUITAR:
Play minor and major seconds (one or two frets) and sing the individual notes.
Play a chord of any two tones that are within an octave of each other. Sing them. Pass one verification round (VR).
Play a chord of any two tones that are more than an octave apart. Sing them. Pass one VR.
Play a chord of any three tones within one octave. Sing them. Pass one VR.
Play a chord of any three tones spread out over octaves. Sing them. Pass one VR.
TEAM:
One person plays C or D; the other names it. Pass one VR.
One person plays C and D in any octave. The other identifies which is on the bottom and which is on top.
SOLO OTHER:
Try to sing a C, then a D, and play the notes to check yourself. Then meditate on each pitch. Repeat.


Lesson Seven - 22 minutes
<b>SUMMARY:</b> It takes more than perfect pitch to be a musician. Correct your errors. Practice frequently.
<b>EXERCISES:</b>
EVERYONE:
Each day, before beginning any drill session, try to sing a C.
SOLO KEYBOARD:
Play any white key. Name it. Pass one VR.
SOLO GUITAR:
Play any two open strings harmonically. Sing them.
Play any two open strings harmonically. Identify them.
TEAM:
One person plays C, D, or E; the other names it. Pass one VR.
One person plays melodic doubles using only C, D or E. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using only C, D, or E. The other identifies. Pass one VR.
One person chooses a note and tries to sing it. The other agrees or disagrees. Check on your instrument.
SOLO OTHER:
Meditate on C, D, and E.


Lesson Eight - 15 minutes
<b>SUMMARY:</b> Relative pitch helps you learn perfect pitch. Listen to pitch color regardless of how you identified the note.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play random ascending melodic thirds using white tones only. Identify them. Pass one VR
Play random descending melodic thirds using white tones only. Identify them. Pass one VR.
Play random harmonic thirds using white tones only. Identify them. Pass one VR.
SOLO GUITAR:
Capo your guitar to F, so that your E-string now plays an F. Then:
Play any two open strings harmonically. Sing them.
Play any two open strings harmonically. Identify them.
Capo up to A. Then:
Play any two open strings harmonically. Sing them.
Play any two open strings harmonically. Identify them.
TEAM:
One person plays a white tone from C to F; the other names it. Pass one VR.
One person plays melodic doubles using C to F. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using C to F. The other identifies. Pass one VR.
SOLO OTHER:
Meditate on C, D, E, and F.
Choose one of these tones, think of the tone, and sing it. Pass one VR.

Lesson Nine - 17 minutes
<b>SUMMARY:</b> Practice when you are feeling awake and alert. The succession of exercises will gradually draw you towards listening in absolute pitch.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play random ascending melodic sixths using white tones only. Identify them. Pass one VR
Play random descending melodic sixths using white tones only. Identify them. Pass one VR.
Play random harmonic sixths using white tones only. Identify them. Pass one VR.
SOLO GUITAR:
Play an A-major chord followed by any note. Identify the note. Pass two VR.
TEAM:
One person plays a white tone from C to G; the other names it. Pass one VR.
One person plays melodic doubles using C to G. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using C to G. The other identifies. Pass one VR.
SOLO OTHER:
Meditate on C, D, E, F, and G.
Choose one of these tones, think of the tone, and sing it. Pass one VR.

TS
Posts: 168
Joined: Sun May 07, 2006 4:58 am

Re: Burge method -- is it snake oil?

Postby TS » Wed Jul 27, 2011 9:56 am

The summaries continue on to another page.


Summaries begin here:

Lesson Ten: 12 minutes
<b>SUMMARY:</b> Burge taught himself perfect pitch. You don't have to do all the exercises in order, but don't start in the middle.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play random ascending melodic seconds using white notes only. Identify them. Pass one VR.
Play random descending melodic seconds using white notes only. Identify them. Pass one VR.
Play random harmonic seconds using white notes only. Identify them. Pass one VR.
Play random ascending melodic fifths using white notes only. Identify them. Pass one VR.
Play random descending melodic fifths using white notes only. Identify them. Pass one VR.
Play random harmonic fifths using white notes only. Identify them. Pass one VR.
Play random ascending melodic fourths using white notes only. Identify them. Pass one VR.
Play random descending melodic fourths using white notes only. Identify them. Pass one VR.
Play random harmonic fourths using white notes only. Identify them. Pass one VR.
Play random ascending melodic sevenths using white notes only. Identify them. Pass one VR.
Play random descending melodic sevenths using white notes only. Identify them. Pass one VR.
Play random harmonic sevenths using white notes only. Identify them. Pass one VR.
SOLO GUITAR:
Play an A-major chord followed by any note. Identify the note. Pass two VR.
Play a B-major chord followed by any note. Identify the note. Pass two VR.
MEDITATION:
Meditate on C, D, E, F, G, and A.
Choose one of these notes, think of the note, and sing it. Pass one VR.
TEAM:
One person plays a white note from C to A; the other names it. Pass one VR.
One person plays melodic doubles using C to A. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using C to A. The other identifies. Pass one VR.
One person plays melodic triples using C to A. The other identifies the notes. Pass one VR.
One person plays harmonic triples using C to A. The other identifies. Pass one VR.


Lesson 11: 20 minutes
<b>SUMMARY:</b> Don't try to make the exercises more difficult for yourself. Continue your normal musical practicing while ear training. Relative pitch is the shape of music, and absolute pitch is the color.
<b>EXERCISES:</b>
SOLO KEYBOARD:
With two white notes that are more than one octave apart:
Play them together. Identify them. Pass one VR.
Play them ascending. Identify them. Pass one VR.
Play them descending. Identify them. Pass one VR.
With three white notes that are all in the same octave:
Play them together. Identify the notes. Pass one VR.
Play them ascending. Identify the notes. Pass one VR.
Play them descending. Identify the notes. Pass one VR.
With three white notes that are spread over multiple octaves:
Play them together. Identify the notes. Pass one VR.
Play them ascending. Identify the notes. Pass one VR.
Play them descending. Identify the notes. Pass one VR.
SOLO GUITAR:
Play an A string followed by any note. Identify the note. Pass two VR.
Play a C#-major chord followed by any note. Identify the note. Pass two VR.
Play a D#-major chord followed by any note. Identify the note. Pass two VR.
MEDITATION:
Meditate on C, D, E, F, G, A, and B.
Choose one of these tones, think of the tone, and sing it. Pass one VR.
TEAM:
One person plays a white note from C to B; the other names it. Pass one VR.
One person plays melodic doubles using C to B. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using C to B. The other identifies. Pass one VR.
One person plays melodic triples using C to B. The other identifies the notes. Pass one VR.
One person plays harmonic triples using C to B. The other identifies. Pass one VR.


Lesson 12: 17 minutes
<b>SUMMARY:</b> It's essential to have relative pitch in order to learn absolute pitch. If you don't have it, buy the relative pitch course. Continue on to Phase Two anyway.
<b>EXERCISES:</b>
SOLO KEYBOARD:
With any two black notes that are in the same octave:
Play them together. Identify them. Pass one VR.
Play them ascending. Identify them. Pass one VR.
Play them descending. Identify them. Pass one VR.
With any two black notes that are more than one octave apart:
Play them together. Identify them. Pass one VR.
Play them ascending. Identify them. Pass one VR.
Play them descending. Identify them. Pass one VR.
With any three black notes that are all in the same octave:
Play them together. Identify the notes. Pass one VR.
Play them ascending. Identify the notes. Pass one VR.
Play them descending. Identify the notes. Pass one VR.
With any three black notes that are spread over multiple octaves:
Play them together. Identify the notes. Pass one VR.
Play them ascending. Identify the notes. Pass one VR.
Play them descending. Identify the notes. Pass one VR.
SOLO GUITAR:
Play a D string followed by any note. Identify the note. Pass two VR.
Play a F#-major chord followed by any note. Identify the note. Pass two VR.
Play a G#-major chord followed by any note. Identify the note. Pass two VR.
Play an A#-major chord followed by any note. Identify the note. Pass two VR.


Lesson 13: 35 minutes
A quote from the review:
The meditation exercise can be done as "top drills" and "bottom drills". For a "bottom drill", you put the C (or any other pitch) on the bottom of a chromatic scale and work your way up. You start with C, then move to C#, then back to C, then D, back to C, then Eb, et cetera, until you get all the way up to the next C. (the "top drill" is in the opposite direction.) The purpose of doing this is twofold: both to reinforce the sensation of the note which is being constantly repeated, and to help you feel how the note is different from all the other notes.

<b>SUMMARY:</b> Take time to dwell on the sensation of each note. Listen easily and gently.
<b>EXERCISES:</b>
EVERYONE:
Top-note and bottom-note drills.


Lesson 14: 23 minutes
<b>SUMMARY:</b> You'll notice a phase transition into perfect pitch. You can't rush it.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play a C-major chord (with four notes), followed by a black note. Identify the note. Pass 1 VR.
Play any four white notes melodically, followed by one black note, and identify them as you go. Pass 1 [new] VR.
Play a chord of any four white tones. Sing them from the bottom up. Pass 1 [new] VR.
Play a chord of any four white tones. Name them from the bottom up. Pass 1 VR.
SOLO GUITAR:
Play an A-major chord followed by any two notes. Identify the notes, then repeat the A-major chord. Pass two VR.
Repeat this cycle: A-string, ID any note (repeat 3 times); D-string, ID any note (repeat 3 times).
Repeat this cycle: A-string, ID any two notes (repeat 3 times); D-string, ID any two notes (repeat 3 times).
MEDITATION:
Meditate on C, D, E, F, G, A, B, and Ab.
Choose one of these tones, think of the tone, and sing it. Pass one VR.
TEAMS:
One person plays a white tone from C to B, or Ab; the other names it. Pass one VR.
One person plays melodic doubles using C to B, plus Ab. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using C to B, plus Ab. The other identifies. Pass two VR.
One person plays melodic triples using C to B, plus Ab. The other identifies the notes. Pass one VR.
One person plays harmonic triples using C to B, plus Ab. The other identifies. Pass two VR.


Lesson 15: 16 minutes
<b>SUMMARY:</b> Drugs burn out your brain.

Lesson 16: 12 minutes
<b>SUMMARY:</b> Using perfect pitch outside of musical practice is a bad idea. Sevenths notes are a good step towards breaking down the scale.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play a D-major chord (with four notes), followed by a black note. Identify the note. Pass 1 VR.
Play an E-major chord (with four notes), followed by a black note. Identify the note. Pass 1 VR.
Play an F-major chord (with four notes), followed by a black note. Identify the note. Pass 1 VR.
Play a G-major chord (with four notes), followed by a black note. Identify the note. Pass 1 VR.
Play an A-major chord (with four notes), followed by a black note. Identify the note. Pass 1 VR.
Play a B-major chord (with four notes), followed by a black note. Identify the note. Pass 1 VR.
Play a C#-major chord (with four notes), followed by a white note. Identify the note. Pass 1 VR.
Play an Eb-major chord (with four notes), followed by a white note. Identify the note. Pass 1 VR.
Play an F#-major chord (with four notes), followed by a white note. Identify the note. Pass 1 VR.
Play a Ab-major chord (with four notes), followed by a white note. Identify the note. Pass 1 VR.
Play a Bb-major chord (with four notes), followed by a white note. Identify the note. Pass 1 VR.
SOLO GUITAR:
Play a B-major chord followed by any two notes. Identify the notes, then repeat the B-major chord.
Play a C-major chord followed by any two notes. Identify the notes, then repeat the C-major chord.
Play a D-major chord followed by any two notes. Identify the notes, then repeat the D-major chord.
Play a E-major chord followed by any two notes. Identify the notes, then repeat the E-major chord.
Play a F-major chord followed by any two notes. Identify the notes, then repeat the F-major chord.
Play a G-major chord followed by any two notes. Identify the notes, then repeat the G-major chord.
Play a C#-major chord followed by any two notes. Identify the notes, then repeat the C#-major chord.
Play a Eb-major chord followed by any two notes. Identify the notes, then repeat the Eb-major chord.
Play a F#-major chord followed by any two notes. Identify the notes, then repeat the F#-major chord.
Play a Ab-major chord followed by any two notes. Identify the notes, then repeat the Ab-major chord.
Play a Bb-major chord followed by any two notes. Identify the notes, then repeat the Bb-major chord.
Play a G string followed by any note. Identify the note. Pass two VR.
Play a B string followed by any note. Identify the note. Pass two VR.
Play an E string followed by any note. Identify the note. Pass two VR.
MEDITATION:
Meditate on C, D, E, F, G, A, B, and Ab.
Choose two of these notes, think of the notes, and sing them. Pass one VR.
TEAM:
One person plays a note from only B, D, F, or Ab; the other names it. Pass one VR.
One person plays melodic doubles using only B, D, F, or Ab. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using only B, D, F, or Ab. The other identifies. Pass two VR.
One person plays melodic triples using only B, D, F, or Ab. The other identifies the notes. Pass one VR.
One person plays harmonic triples using only B, D, F, or Ab. The other identifies. Pass two VR.



Lesson 17: 6 minutes
<b>SUMMARY:</b> Nothing to summarize.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play a C-major chord (with four notes), followed by a chord of two black notes. Identify the notes. Pass 1 VR.
Play any three white notes melodically, followed by one black note, and identify them as you go. Pass 1 [new] VR.
Play a chord of any four black notes. Sing them from the bottom up. Pass 1 [new] VR.
Play a chord of any four black notes. Name them from the bottom up. Pass 1 VR.
SOLO GUITAR:
Repeat this cycle: A-string, ID any note (x3); G-string, ID any note (x3).
Repeat this cycle: A-string, ID any two notes (x3); G-string, ID any two notes (x3).
MEDITATION:
Meditate on C, D, E, F, G, A, B, Ab, and F#.
Choose one of these tones, think of the tone, and sing it. Pass one VR.
TEAM:
One person plays a white tone from C to B, Ab, or F#; the other names it. Pass one VR.
One person plays melodic doubles using C to B, plus Ab and F#. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using C to B, plus Ab and F#. The other identifies. Pass two VR.
One person plays melodic triples using C to B, plus Ab and F#. The other identifies the notes. Pass one VR.
One person plays harmonic triples using C to B, plus Ab and F#. The other identifies. Pass two VR.


Lesson 18: 9 minutes
<b>SUMMARY:</b> Nothing to summarize.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play a D-major chord (with four notes), followed by two black notes. Identify the notes. Pass 1 VR.
Play a D-major chord (with four notes), followed by two black notes. Identify the notes. Pass 1 VR.
Play an E-major chord (with four notes), followed by two black notes. Identify the notes. Pass 1 VR.
Play an F-major chord (with four notes), followed by two black notes. Identify the notes. Pass 1 VR.
Play a G-major chord (with four notes), followed by two black notes. Identify the notes. Pass 1 VR.
Play an A-major chord (with four notes), followed by two black notes. Identify the notes. Pass 1 VR.
Play a B-major chord (with four notes), followed by two black notes. Identify the notes. Pass 1 VR.
Play a C#-major chord (with four notes), followed by two white notes. Identify the notes. Pass 1 VR.
Play an Eb-major chord (with four notes), followed by two white notes. Identify the notes. Pass 1 VR.
Play an F#-major chord (with four notes), followed by two white notes. Identify the notes. Pass 1 VR.
Play a Ab-major chord (with four notes), followed by two white notes. Identify the notes. Pass 1 VR.
Play a Bb-major chord (with four notes), followed by two white notes. Identify the notes. Pass 1 VR.
Play three sets of harmonic white doubles, followed by one black note. Name them all. Pass 3 VR.
Play three sets of harmonic white doubles, followed by a chord of two black notes. Name them all. Pass 3 VR.
SOLO GUITAR:
Repeat this cycle: A-string, ID any note (x3); D-string, ID any note (x3); G-string, ID any note (x3).
Repeat this cycle: A-string, ID any two notes (x3); D-string, ID any two notes (x3); G-string, ID any two notes (x3).
MEDITATION:
Meditate on C, D, E, F, G, A, B, Ab, F#, and Eb.
Choose two of these tones, think of the tones, and sing them. Pass one VR.
TEAM:
One person plays a white tone from C to B, Ab, F#, or Eb; the other names it. Pass one VR.
One person plays melodic doubles using C to B, plus Ab, F#, and Eb. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using C to B, plus Ab, F#, and Eb. The other identifies. Pass two VR.
One person plays melodic triples using C to B, plus Ab, F#, and Eb. The other identifies the notes. Pass one VR.
One person plays harmonic triples using C to B, plus Ab, F#, and Eb. The other identifies. Pass two VR.


Lesson 19: 8 minutes
<b>SUMMARY:</b> Nothing to summarize.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play two sets of harmonic white doubles, followed by one black note. Name them all. Pass 3 VR.
Play two sets of harmonic white doubles, followed by a chord of two black notes. Name them all. Pass 3 VR.
SOLO GUITAR:
Repeat this cycle: A-string, ID any note (x2); D-string, ID any note (x2); G-string, ID any note (x2).
Repeat this cycle: A-string, ID any two notes (x2); D-string, ID any two notes (x2); G-string, ID any two notes (x2).
MEDITATION:
Meditate on B, D, F, and Ab.
Meditate on F#, A, C, and Eb.
Choose a note from B, D, F, or Ab, think of the note, and sing it. Pass one-half VR.
Choose a note from F#, A, C, or Eb, think of the note, and sing it. Pass one-half VR.
TEAM:
One person plays a note from B/D/F/Ab; the other names it. Pass one VR.
One person plays melodic doubles using only B/D/F/Ab. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using only B/D/F/Ab. The other identifies. Pass two VR.
One person plays melodic triples using only B/D/F/Ab. The other identifies the notes. Pass one VR.
One person plays harmonic triples using only B/D/F/Ab. The other identifies. Pass two VR.
One person plays a note from F#/A/C/Eb; the other names it. Pass one VR.
One person plays melodic doubles using only F#/A/C/Eb. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using only F#/A/C/Eb. The other identifies. Pass two VR.
One person plays melodic triples using only F#/A/C/Eb. The other identifies the notes. Pass one VR.
One person plays harmonic triples using only F#/A/C/Eb. The other identifies. Pass two VR.



Lesson 20: 6 minutes
<b>SUMMARY:</b> Nothing to summarize.
<b>EXERCISES:</b>
SOLO KEYBOARD:
Play any two white notes melodically, followed by one black note, and identify them as you go. Pass 1 [new] VR.
Play two sets of harmonic white doubles, followed by a chord of two black notes. Name them all. Pass 3 VR.
Play two sets of harmonic white doubles, followed by two chords of two black notes. Name them all. Pass 3 VR.
SOLO GUITAR:
Play an A-string followed by a chord of any two notes. Identify the notes. Pass 2 VR.
Play an A-string followed by any two notes played melodically. Identify the notes. Pass 2 VR.
MEDITATION:
Meditate on C, D, E, F, G, A, B, Ab, F#, and Eb.
Choose three of these notes, think of the notes, and sing them. Pass one VR.
TEAM:
One person plays a note from B/D/F/Ab or F#/A/C/Eb; the other names it. Pass one VR.
One person plays melodic doubles using only B/D/F/Ab or F#/A/C/Eb. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using only B/D/F/Ab or F#/A/C/Eb. The other identifies. Pass two VR.
One person plays melodic triples using only B/D/F/Ab or F#/A/C/Eb. The other identifies the notes. Pass one VR.
One person plays harmonic triples using only B/D/F/Ab or F#/A/C/Eb. The other identifies. Pass two VR.



Lesson 21: 6 minutes
Lesson 22: 3 minutes
Lesson 23: 5 minutes
EXERCISES (Lessons 21-22):
SOLO KEYBOARD:
(Lesson 21)
Play one white note followed by one black note. Identify them. Pass 1 [new] VR.
(Lesson 22)
One person plays a tone from C#/E/G/Bb; the other names it. Pass one VR.
One person plays melodic doubles using only C#/E/G/Bb. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using only C#/E/G/Bb. The other identifies. Pass two VR.
One person plays melodic triples using only C#/E/G/Bb. The other identifies the notes. Pass one VR.
One person plays harmonic triples using only C#/E/G/Bb. The other identifies. Pass two VR.
One person plays any note; the other names it. Pass one VR.
One person plays melodic doubles using any note. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using any note. The other identifies. Pass two VR.
One person plays melodic triples using any note. The other identifies the notes. Pass one VR.
One person plays harmonic triples using any note. The other identifies. Pass two VR.
SOLO GUITAR:
(Lesson 21)
Play an A-string followed by a chord of any three notes. Identify the notes. Pass 2 VR.
Play an A-string followed by any three notes played melodically. Identify the notes. Pass 2 VR.
Repeat this cycle: A-string, ID any note (x2); D-string, ID any note (x2).
(Lesson 22)
Repeat this cycle: A-string, ID any two notes (x2); D-string, ID any two notes (x2), G-string, ID any two notes (x2).
(Lesson 23)
Repeat this cycle: A-string, ID any two notes (x2); D-string, ID any two notes (x2), G-string, ID any two notes (x2), B-string, ID any two notes (x2), E-string, ID any two notes (x2).
MEDITATION:
(Lesson 21)
Meditate on any note except Bb.
Choose three of these tones, think of the tones, and sing them. Pass one VR.
TEAM:
(Lesson 21)
One person plays any note except Bb; the other names it. Pass one VR.
One person plays melodic doubles using any note except Bb. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using any note except Bb. The other identifies. Pass two VR.
One person plays melodic triples using any note except Bb. The other identifies the notes. Pass one VR.
One person plays harmonic triples using any note except Bb. The other identifies. Pass two VR.
(Lesson 22)
One person plays a tone from C#/E/G/Bb; the other names it. Pass one VR.
One person plays melodic doubles using only C#/E/G/Bb. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using only C#/E/G/Bb. The other identifies. Pass two VR.
One person plays melodic triples using only C#/E/G/Bb. The other identifies the notes. Pass one VR.
One person plays harmonic triples using only C#/E/G/Bb. The other identifies. Pass two VR.
One person plays any note; the other names it. Pass one VR.
One person plays melodic doubles using any note. The other identifies the notes. Pass one VR.
One person plays harmonic doubles using any note. The other identifies. Pass two VR.
One person plays melodic triples using any note. The other identifies the notes. Pass one VR.
One person plays harmonic triples using any note. The other identifies. Pass two VR.


Lesson 24: 30 minutes
Quote from the review:
Lesson 24 is the last "lesson" in Burge's product. It essentially serves as a grab bag full of leftovers, and after a final faux question-and-answer session he speaks his final piece. For brevity, I'll just mention the questions and answers without much of my own interpretation.

<i>Why are notes on other instruments harder to identify than those on my instrument?</i> - Because the other instruments have a different sound than yours.
<i>Why not use a sine wave?</i> - That won't help you recognize a pitch sound within an instrument's sound; it will only help you recognize sine waves.
<i>What if my instrument doesn't have as many octaves as a piano?</i> - It doesn't matter.
<i>What if I can't tell if a sound that's between pitches is sharp or flat?</i> - A pitch is a category with a range; sometimes the assignment of that sound won't be clear.

After these questions, Burge launches into his conclusion. Essentially, he urges you to do things which will challenge your ear further, like listening to very high or very low notes, or playing chords of a dozen notes.

SunFishSeven
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Postby SunFishSeven » Wed Jul 27, 2011 11:20 am

Thanks for this TS.

He appears to be suggesting that his relative pitch course be assimilated first. Would you happen to have a corresponding summary of this relative pitch course?

> (lesson 7) Each day, before beginning any drill session, try to sing a C.

I would be tempted to find which note is closest to my natural speaking voice, and work from this. I can hit A3 spot on much of the time ( just tried it now ).

> ( lesson 9 ) ...

what does he mean by melodic and harmonic sixths? I have never come across this terminology

and what does he mean by ' melodic doubles '

> (lesson 12) SUMMARY: It's essential to have relative pitch in order to learn absolute pitch. If you don't have it, buy the relative pitch course. Continue on to Phase Two anyway.

very interesting... contentious?

TS
Posts: 168
Joined: Sun May 07, 2006 4:58 am

Postby TS » Wed Jul 27, 2011 11:56 am

SunFishSeven wrote:He appears to be suggesting that his relative pitch course be assimilated first. Would you happen to have a corresponding summary of this relative pitch course?

No, unfortunately I don't have anything related to the relative pitch course, but having looked at the description on Amazon, it seems it's nothing special, just listening to and identifying intervals.

SunFishSeven wrote:what does he mean by melodic and harmonic sixths? I have never come across this terminology

and what does he mean by ' melodic doubles '

Here is a quote from the review of lesson 7, that explains some terminology:
A little bit of vocabulary: "doubles" and "triples" will mean a set of two or three tones. Again, "melodic" and "harmonic" mean separately versus as a chord, so "melodic double" means two notes played in succession, while "harmonic triple" means a chord of three notes. Also, in this and other lessons, if I don't indicate "pass one VR" then it means Burge has suggested that you just do the exercise until you don't feel like doing it any more (maybe 15 minutes).


SunFishSeven wrote:> (lesson 12) SUMMARY: It's essential to have relative pitch in order to learn absolute pitch. If you don't have it, buy the relative pitch course. Continue on to Phase Two anyway.

very interesting... contentious?

If I remember correctly, the reason why Chris originally removed the review from the site was because he himself thought it was too negative in tone.

aruffo
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Location: Evanston, IL

Postby aruffo » Wed Jul 27, 2011 3:49 pm

Did I say that? I was just being gracious... I took it down because he threatened to sue. I was and am quite sure that he realizes that many people buy his product specifically because he doesn't actually tell them what's in it.

As I've said before, Burge's course technically isn't a fraud. The scientific fact is that no matter what you do to train yourself-- literally, anything at all, from pounding piano keys to meditation-- you will, within a few weeks, become able to recognize and name a few notes.

If you agree (as many people do) that "absolute pitch" can be defined as learning to name a couple of notes, outside of musical contexts and with limited accuracy, it's not fraud.

And technically, you could say that his "method" causes that learning, because you "used" it-- so that too is not fraud.

But to give someone a bushel of money just to claim credit for a natural human ability you could've activated yourself by bashing at the keyboard and paying attention?

That's good marketing.

Use Functional Ear Trainer. Use Prolobe. Save your money.
Last edited by aruffo on Wed Jul 27, 2011 4:14 pm, edited 1 time in total.

SunFishSeven
Posts: 37
Joined: Sun Jul 04, 2010 12:18 am

Postby SunFishSeven » Wed Jul 27, 2011 3:50 pm

Yes, My brain was not plugged in. Of course relative pitch is easily covered all over the place.

I like the way he says ' meditate on C '

I just realised that my approach of covering the spectrum of my singing range with half a dozen or so roughly evenly spaced notes is comparable with drawing a grid over a picture, so that a child can keep a sense of perspective.

but an occasional child ( often autistic ) will be able to draw a perfect copy of what appears on their retina

and I have experienced before if I relax my focus on an object, it begins to lose its meaning. I have experienced this very acutely on LSD ( which I haven't done for ages ), where I see a table or a tree and actually see it as it is, my consciousness is somewhere before this has been collapsed into the concept of 'table' or 'tree'

Also words lose meaning if I say them in my head enough times, sometimes I encounter an unusual word, and get lost in contemplating it, and the meaning is nowhere. Again, journeying on LSD has brought me into a space where new made up words continuously form, breakup, evolve. The consciousness is playing directly with the phonetic sounds, with a peripheral awareness of the connotations and associations they bring to the mind.

It is a deep regression, it is only through meditation that transformation is possible. Otherwise something is held onto, the transformation cannot be complete. Both feet must jump to the other side.

This reminds me that I must work meditatively. Though I have encountered meditation, this has been lacking in my work so far. I have some unlearning to do.

There is no point looking at the bud and attempting to coax it into becoming a rose, I must feed the roots. I have to let go of the idea of ' perfect pitch '.

It is interesting that Burge warns against drugs. To me this is something positive, I don't have any desire to fill my body with these chemicals any more.

theandresanchez
Posts: 23
Joined: Mon Dec 14, 2009 7:30 pm

Postby theandresanchez » Thu Nov 24, 2011 8:06 am

The method is snake oil. It can only lead to perfect pitch in an indirect, accidental way. If you spend the time doing the exercises, this accidental way does become more likely... but it's still an accident. Perfect pitch is nothing but a rare form of synesthesia. Synesthesia is the term people use for strong but senseless connections between different sensory/cognitive modalities (grapheme-color for example), but the actual thing that people are talking about is the most normal thing in the world, it's just developed in an odd way in some people. Every human being is a "synesthete"... if we weren't, you would not be able to read, or even understand speech. The mechanics involved are the same. And in the same way people can learn to read at an old age, they can learn to distinguish pitch. Think about it... are you able to even identify the graphemes of a foreign language, without knowing what they sound like? It is possible, but hard and unstable. Pitch is harder. If you don't develop some kind of synesthetic link, consciously or not, you can "meditate on the twanginess of F#" for all eternity.

enturologi
Posts: 7
Joined: Fri Jan 06, 2017 2:22 am

Re: Burge method -- is it snake oil?

Postby enturologi » Sat Jan 07, 2017 4:47 pm

thanks for the summary..


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