Session 13: Playing by Ear & Transcription

Overview

• Phase: 3 — Expression & Interpretation
• Duration: 75 minutes
• Prerequisites: Completed Sessions 1-12. Full dynamic range (pp-ff). Articulation mastery. Pedal mastery. 7th chords, arpeggios, advanced progressions (ii-V-I). Classical repertoire experience.

Learning Objectives

By the end of this session, you will be able to:

1. Use a systematic approach to playing a song by ear: find the key, find the bass, find the chords, find the melody
2. Identify chord progressions by ear (I-IV-V-I, I-V-vi-IV, ii-V-I)
3. Transcribe a simple melody to paper using letter names and rhythm
4. Recognise major, minor, and dominant 7th chords by ear in a musical context
5. Prepare your ear for the interval and pitch sensitivity required for raga study in Session 14

Materials Needed

• Casio CT-X9000IN keyboard (Grand Piano tone — Tone 000)
• A phone or tablet to play reference songs (for ear training exercises)
• Notebook and pen for transcription practice
• This lesson plan open beside you

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Warm-Up & Review (10 minutes)

Dynamic Scale Warm-Up (4 minutes)

Play these scales with dynamic shaping:

1. A harmonic minor, 2 octaves, HT, pp → ff → pp hairpin — 1 time at 72 BPM
2. D major, 2 octaves, HT, staccato throughout — 1 time at 80 BPM
3. Ab major, 2 octaves, HT, legato throughout with pedal — 1 time at 72 BPM

These three different approaches (dynamic hairpin, staccato, legato with pedal) review everything you learned in Sessions 11-12.

Chopin Waltz Quick Review (3 minutes)

Play measures 1-8 of the “Waltz in A minor,” both hands, with dynamics (p → pp → mf). Check: does the phrase have shape?

Interval Ear Check (3 minutes)

Close your eyes. Play these intervals with your RH and identify each:

1. C to D — Major 2nd
2. C to E — Major 3rd
3. C to F — Perfect 4th
4. C to G — Perfect 5th
5. C to A — Major 6th
6. C to B — Major 7th
7. C to C (octave) — Perfect Octave

How many can you identify? Write your score: ___/7. This baseline will be important — Session 14 (ragas) demands precise interval hearing.

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Theory / Harmony (10 minutes)

The Systematic Approach to Playing by Ear

Playing by ear is not magic or innate talent. It is a learnable skill built on the theory and ear training you have been developing since Session 1. Here is the system:

Step 1: Find the Key

Listen to the song. Ask: does it sound happy (major) or sad (minor)?

Then find the tonic — the “home” note. Hum the end of the chorus. The last note of many songs is the tonic. Now find that note on your keyboard. If the last note is C and the song sounds major, you are in C major. If the last note is A and the song sounds minor, you are in A minor.

Shortcut: Most pop songs are in C, G, D, A, E, F, or Bb major, or Am, Em, or Dm. If you try these keys, you will find most pop songs.

Step 2: Find the Bass Notes

Listen to the lowest notes in the song — the bass line. These are usually the roots of the chords. Play along with the bass line, trying to match the lowest notes you hear.

For example, if you hear bass notes going C → G → A → F, you have found the roots of your chords: probably C major → G major → Am → F major.

Step 3: Identify the Chord Progression

Once you have the bass notes, build chords on top. Try major first, then minor if major does not sound right. The most common pop progressions are:

Progression	Example in C	Where You Hear It
I-V-vi-IV	C-G-Am-F	”Someone Like You,” “Let It Be,” hundreds more
I-IV-V-I	C-F-G-C	Folk, country, hymns
vi-IV-I-V	Am-F-C-G	”Numb,” “Save Tonight”
ii-V-I	Dm7-G7-Cmaj7	Jazz standards, sophisticated pop
I-vi-IV-V	C-Am-F-G	1950s pop, doo-wop

Knowing these common progressions gives you a head start. When you hear a new song, try each one — often the answer is one of these five.

Step 4: Find the Melody

With the key and chords established, the melody becomes easier. Most melodies use notes from the underlying chord (chord tones) plus neighboring scale notes. Listen phrase by phrase:

1. Sing or hum the first phrase
2. Find the first note on the keyboard
3. Work out the rest of the phrase note by note
4. Write down the notes (transcription)
5. Move to the next phrase

Transcription Basics

Transcription means writing down music you hear. At this level, you write letter names and rhythm values, not standard notation.

Example transcription format:

Song: "Twinkle Twinkle Little Star"

Key: C major

Phrase 1: C C G G | A A G- | (quarter, quarter, quarter, quarter | quarter, quarter, half)

Phrase 2: F F E E | D D C- |

This is enough to reconstruct the melody at the keyboard.

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Technique (15 minutes)

Chord Progression Recognition Drill (5 minutes)

Play each of these progressions in C major, both hands (LH root, RH triad), 4 beats per chord. Listen carefully to the “feel” of each:

Progression 1: I-V-vi-IV C major → G major → Am → F major

LH: C(5) → G(5) → A(5) → F(5)

RH: C(1)E(3)G(5) → G(1)B(3)D(5) → A(1)C(3)E(5) → F(1)A(3)C(5)

This is the “pop progression.” It sounds hopeful, anthemic. Sing “Let it Be” while playing it.

Progression 2: I-IV-V-I C major → F major → G major → C major

LH: C(5) → F(5) → G(5) → C(5)

RH: as above

This sounds more traditional, churchy, folk-like.

Progression 3: ii-V-I Dm7 → G7 → Cmaj7

LH: D(5) → G(5) → C(5)

RH: F(1)A(2)C(4) → F(1)B(2)D(4) → E(1)G(2)B(4)

This sounds jazzy, sophisticated.

Now close your eyes. Play one of the three progressions at random. Can you identify which one you played? The feel is different:

• I-V-vi-IV = anthemic pop
• I-IV-V-I = traditional/folk
• ii-V-I = jazz/sophisticated

Bass Note Finding Drill (5 minutes)

This exercise trains you to hear and match bass notes — Step 2 of the system.

1. Play a C major chord with your RH. Now hum the lowest note you hear (C). Find that C on the keyboard with your LH.
2. Play an F major chord. Hum the bass. Find F.
3. Play a G major chord. Hum the bass. Find G.
4. Play an Am chord. Hum the bass. Find A.

Now try this: play a chord WITHOUT looking at your hand (close your eyes). Listen to the bass note. Find it with your other hand. Can you do it?

This skill — isolating the bass note from a chord — is exactly what you do when listening to a song. The bass is the foundation; find it and everything else follows.

Melody Dictation Drill (5 minutes)

I will give you a melody. Read it, play it, listen to it. Then cover the notes and try to write them down from memory.

Melody 1 (easy — 4 notes):

G(5) E(3) F(4) D(2)

Play it twice. Cover the notes. Write the letter names from memory.

Melody 2 (medium — 6 notes):

C(1) E(3) G(5) F(4) D(2) C(1)

Play it twice. Cover. Write.

Melody 3 (challenging — 8 notes):

E(3) D(2) C(1) D(2) E(3) E(3) E(3) rest

Play it twice. Cover. Write. (This is “Mary Had a Little Lamb” — the melody should be familiar, which helps.)

If you can write Melody 3 correctly from memory, your musical memory is strong. If not, do not worry — this skill improves dramatically with practice.

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Repertoire / Genre (25 minutes)

Playing by Ear — Full Exercise

You are going to learn a song by ear using the systematic approach. Choose one of these three options:

Option A: “Happy Birthday” (easiest — you definitely know this melody) Option B: “Jingle Bells” (medium — familiar but longer) Option C: “Let It Be” by The Beatles (challenging — real pop song)

I will walk you through Option A as a demonstration, then you can try Option B or C on your own.

Demonstration: “Happy Birthday” by Ear

Step 1: Find the Key

Sing “Happy Birthday” to yourself. Hum the last note of the song (“…to you”). That is likely the tonic. Find it on the keyboard. If it feels comfortable starting on C, you are in C major.

Key: C major

Step 2: Find the Bass Notes

Sing the song slowly. Listen for where the harmony changes:

• “Happy birthday TO you” — feels like home (C)
• “Happy birthday TO you” — feels like it moves (G)
• “Happy BIRTH-day dear [name]” — feels like it lifts (F)
• “Happy birthday TO you” — comes home (C… eventually via G)

Bass progression: C — G — F — C (with G before the final C)

Step 3: Build the Chords

On those bass notes, try major triads:

• C major: C-E-G (sounds right)
• G major: G-B-D (sounds right — this is the V chord)
• F major: F-A-C (sounds right — this is the IV chord)

Chord progression: I - V - IV - V - I (C - G - F - G - C)

Step 4: Find the Melody

Sing “Happy birthday to you” slowly. The first two notes are the same pitch (repeated). Find it: it is G(5).

Full melody transcription:

Phrase 1: “Hap-py birth-day to you”

G(5) G(5) A(4) G(5) | C(5) B(4) rest |

(eighth, eighth, quarter, quarter | quarter, half)

Phrase 2: “Hap-py birth-day to you”

G(5) G(5) A(4) G(5) | D(5) C(4) rest |

(eighth, eighth, quarter, quarter | quarter, half)

Phrase 3: “Hap-py birth-day dear [name]”

G(5) G(5) G(high)(5) E(3) | C(2) B(1) A(1) rest |

(eighth, eighth, quarter, quarter | quarter, quarter, quarter, rest)

Phrase 4: “Hap-py birth-day to you”

F(4) F(4) E(3) C(1) | D(2) C(1) rest rest |

(eighth, eighth, quarter, quarter | quarter, half, rest)

Now play it!

RH melody with LH chords:

• LH plays C major during Phrase 1, G major during the resolution
• LH plays C major during Phrase 2, G major during the resolution
• LH plays C major then F major during Phrase 3
• LH plays F major then G7 → C during Phrase 4

X:1 T:Happy Birthday (By Ear Transcription) M:3/4 L:1/8 K:C V:1 clef=treble name="RH" "5"G2 G2 "4"A2 | "5"G2 c2 "4"B4 | G2 G2 A2 | G2 "5"d2 "4"c4 | "5"G2 G2 "5"g2 | "3"e2 "2"c2 "1"B2 | "4"f2 f2 "3"e2 | "2"c2 "1"d2 c4 |] V:2 clef=bass name="LH" "5"C,4 z2 | C,4 "5"G,,2 | C,4 z2 | "5"G,,4 C,2 | C,4 z2 | C,2 "5"F,,2 z2 | "5"F,,4 z2 | "5"G,,2 z2 C,4 |]

Congratulations — you just played a song by ear!

Your Turn: Choose Option B or C

Option B — “Jingle Bells” by ear:

Hints:

• Key: likely C major or G major (try both — whichever feels easier)
• The chorus starts on E-E-E, E-E-E, E-G-C-D-E (in C major)
• Chords: mostly I, IV, V
• Try to find the melody note by note, phrase by phrase

Option C — “Let It Be” by ear:

Hints:

• Key: C major
• Chord progression: C - G - Am - F (the I-V-vi-IV pop progression you practiced today)
• The melody starts on G: “When I find myself in times of trouble…”
• G G G E G A G — try to match these notes to the singing

Work through whichever option you choose using the 4-step system. Do not worry about getting everything perfect — the process of trying is the practice.

Writing Your Transcription

Take your notebook. Write down what you found:

Song: [name]

Key: ___

Chords: ___ - ___ - ___ - ___

Melody (Phrase 1): ___ ___ ___ ___ | ___ ___ ___

Melody (Phrase 2): ___ ___ ___ ___ | ___ ___ ___

This is your first transcription. Keep it. By Session 25, you will look back at this and be amazed at how much faster you have become.

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Creative / Ear Training (10 minutes)

Full Ear Training Exercise — Preparing for Raga Study

Session 14 introduces Indian raga music, which demands extremely precise pitch hearing. The exercises below prepare your ear for the sensitivity required.

Exercise 1: Chromatic Interval Chain (3 minutes)

Play every interval from C upward, one at a time. Name each:

C to C# — minor 2nd (very close, tense) C to D — major 2nd (a step) C to Eb — minor 3rd (dark) C to E — major 3rd (bright) C to F — perfect 4th (open) C to F# — tritone (tense, unstable) C to G — perfect 5th (wide, stable) C to Ab — minor 6th C to A — major 6th C to Bb — minor 7th C to B — major 7th (close to resolution) C to C — octave (resolution)

You should be able to name most of these by now. The ones that might be new are the minor intervals (minor 2nd, minor 3rd, minor 6th, minor 7th) and the tritone.

For raga study: Ragas use specific intervals that may not match standard Western scales. Hearing the exact distance between two notes — not just “a 3rd” but “a major 3rd vs a minor 3rd” — is essential for playing ragas correctly.

Exercise 2: Chord Quality by Ear (3 minutes)

Close your eyes. Play these chords at random and identify each:

1. C major (bright)
2. C minor (dark)
3. C7 (bluesy/tense)
4. Cmaj7 (dreamy)

Do this 8 times. Target: 6/8 correct.

This skill matters for raga study because ragas create mood through specific pitch combinations — just as chord quality creates mood through specific intervals.

Exercise 3: Melodic Memory Challenge (4 minutes)

Listen to this melody (play it once, then cover it):

E(3) G(5) A(4) G(5) E(3) D(2) C(1) E(3)

Now play it back from memory. How many notes did you get right?

Try a longer melody:

C(1) D(2) E(3) G(5) A(5) G(5) E(3) D(2) C(1) D(2) E(3) C(1)

Play it once. Cover. Play back. This 12-note melody tests your musical memory span.

For raga study: Ragas are taught through melodic patterns (alankars). You will learn them by ear — hearing a phrase, then playing it back. The larger your melodic memory, the faster you will learn ragas.

Midpoint Self-Assessment

You are halfway through the intermediate course. Take a moment to check your progress against the goals you set in Session 1:

1. Write down your 3 goals from Session 1 (check your notebook)
2. For each goal, rate your progress: No progress / Some progress / Good progress / Achieved
3. Are your goals still relevant, or do you want to update them?

Also re-take the ear training baseline from Session 1:

• Intervals: ___/5 (compare to Session 1 score)
• Major/Minor chords: Easy / Usually Right / Guessing
• Melody playback: ___/3

You should see improvement. If your interval score went from 3/5 to 4/5 or 5/5, that is excellent growth. If not, increase your daily ear training time to 10 minutes.

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Review & Homework (5 minutes)

Summary

Today you:

• Learned the 4-step system for playing by ear: key → bass → chords → melody
• Identified common chord progressions by ear (I-V-vi-IV, I-IV-V-I, ii-V-I)
• Played “Happy Birthday” entirely by ear using the systematic approach
• Attempted your first transcription on paper
• Prepared your ear for raga study with chromatic interval training and melodic memory exercises
• Completed a midpoint self-assessment

Self-Check Questions

1. What are the four steps of the play-by-ear system, in order?
2. What is the most common pop chord progression? (Name it in Roman numerals and in C major)
3. How do you find the key of a song by ear?
4. Why is interval recognition important for raga study?

Practice Homework (Before Next Session)

• Play-by-ear practice — 15 minutes daily. Pick a simple song you know well (a lullaby, a folk song, a nursery rhyme). Try to find the melody and chords using the 4-step system. Write your transcription in your notebook.
• Chord progression ear training — 5 minutes daily. Play I-V-vi-IV, I-IV-V-I, and ii-V-I in C major. Close your eyes, play one at random, identify it.
• Interval ear training — 5 minutes daily. Play all intervals from C. Close your eyes, play one, name it. Target: 10/12 correct.
• Chromatic scale — 5 minutes daily. Play every note from C to C (all 13 notes, including black keys). Name each note. This prepares you for raga pitch precision.
• Chopin Waltz and classical review — 10 minutes daily.
• Scale and arpeggio maintenance — 5 minutes daily.
• Total: ~45-50 minutes daily

Common Mistakes to Watch For

• Guessing instead of systematically finding notes: Do not randomly poke at keys hoping to find the right note. Use the system: find the key first, then the bass, then the chords, then the melody. Each step narrows down the possibilities.
• Ignoring the bass line: The bass line gives you the chord roots. Without it, you are guessing at chords. Train yourself to listen to the lowest notes in a song — the bass is the foundation.
• Getting frustrated when transcription is slow: Your first transcription will take 20-30 minutes for a simple melody. By Session 25, it will take 5 minutes. This is a skill that improves dramatically with practice. Be patient.

CT-X9000IN Tips

MIDI Recorder — Record and Compare Your Ear Training

Your CT-X9000IN’s MIDI recorder is perfect for ear training practice:

Exercise: Record and Compare

1. Record yourself playing a melody by ear (use the MIDI recorder — press RECORD, play, press STOP)
2. Play back the recording
3. Compare it to the original song (play the original on your phone/tablet)
4. Listen for differences: are any notes wrong? Is the rhythm off?
5. Re-record with corrections

Why this works: When you are playing, your brain is focused on finding notes. When you listen to the recording, you can focus entirely on hearing — you will catch mistakes you missed while playing.

Steps to use the MIDI recorder:

1. Press the SONG/BANK button to select a recording slot
2. Press RECORD (the RECORD indicator lights up)
3. Press PLAY/START to begin recording
4. Play your melody
5. Press PLAY/START again to stop
6. Press PLAY/START to listen back
7. If you want to re-record, repeat from step 2

Looking ahead to Session 14: The MIDI recorder will be invaluable for raga study. You will record raga alankars (exercises), play them back, and check your pitch accuracy. Indian music demands precise intonation — the recorder lets you hear yourself objectively.