Perfect Pitch Ear Training – David Lucas Burge

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Dear Musician:

Have you ever thought about it?

Music is a HEARING art.

Everything you do in music depends totally on your ability to hear.

Whatever your instrument, whether you’re a new beginner or a pro, whatever your music, whether classical or contemporary . . .

If you want to make great music, you need to KNOW WHAT YOU HEAR.

Do you know
what you hear?

Try this 60-second
Perfect Pitch test: Do all 5 questions, then check the answers (below). Use only your EARS to answer the first 4 questions

• 1. What is this note?
• 2. What is the name of this chord?
• 3. What key is this song in?
• 4. Sing a B-flat.

The Shocking Truth:
Most Musicians are “Hard of Hearing”

Musicians are often shocked when they first realize they literally have NO PITCH RECOGNITION.

It’s odd because, as musicians, we work with musical tones constantly. Isn’t it strange that so few of us have trained our ears to name exact tones and chords — all by EAR?

Imagine: What if Michelangelo could not recognize the vivid colors in his paintings? Do you suppose this would have impacted his art?

It’s similar for us as musicians. How can we ever be fully creative in music if we can’t even tell a B-flat from an F-sharp — by EAR?

Musicians around the world agree: A great ear is the most valuable asset a musician can own. Yet while most musicians already know this, few do something about it.

The truth is that most musicians have had very little ear training. And most have no clue what they are hearing.

To make matters worse, ear training can be tricky. Musicians often joke that ear training is really “ear straining.”

That’s because they don’t know how EASY and SIMPLE it is to develop your ear when you learn the simple secrets of Perfect Pitch and Relative Pitch.

Even Tin Ears Can Turn to Gold:

Would you like to advance your music, discover your hidden musical talents, and leap ahead of the crowd?

If so, you’ve come to the right place.

With just a few ear-opening instructions, we bet YOU will begin to name exact tones and chords — ALL BY EAR — regardless of your current ability level.

How?

With the easy, step-by-step guidance you’ll receive in our #1 world best-selling ear training methods by David Lucas Burge. And you’ll prove it yourself, with your OWN EARS.

Here at last is everything you need to quickly build up a powerful ear for music — simply by opening your natural talents for listening.

So let’s begin the training right now . . .

Our first topic:

What exactly is Perfect Pitch?

What is Perfect Pitch?
Somewhere deep inside, you have a refined hearing sense popularly called Perfect Pitch (also known as Absolute Pitch).

Perfect Pitch is a talent of yours that’s crying to be let out. But — like most musicians — you may have never taken the time to discover it.

Simply put, Perfect Pitch is your natural, but usually undeveloped ability to:

• Name exact notes and chords — BY EAR
• Sing exact notes — from memory
• Identify keys of songs just by listening

It’s like this . . 

WITHOUT Perfect Pitch
You do not know what tones you hear
— it’s like hearing in “black and white”

WITH Perfect Pitch
You know the EXACT TONES you hear
— it’s like hearing in color:

Does “pitch color” sound like a strange concept to you?

Think of it this way:

Your eye sees VISUAL colors; likewise, your ear can learn to hear PITCH colors.

Your eye can recognize different colors of LIGHT (light waves) — right? Likewise, your ear has a natural (but usually undeveloped) ability to recognize different colors of SOUND (pitches).

Once you tune in to these PITCH COLORS, you’ll naturally learn to name any tone or chord — BY EAR — just like you can name colors by eye.

If all this still sounds a bit abstract, don’t worry. It’s so simple a child can do it. (And if you have musical kids, you’ll want them to learn Perfect Pitch as young as possible.)

Regardless of your age, instrument, or currently ability level, you’ll hear it for YOURSELF . . . starting with your very first Lesson. We guarantee it.

Perfect Pitch:
The Phenomenon

Known over centuries as the prized “super ear” of the world’s greatest musicians, Perfect Pitch gives you an unmatchable mastery of the musical language.

In classical times, Bach, Beethoven, Mozart, Chopin — and most all the music greats — had Perfect Pitch.

From classical to rock, from jazz to pop, many current and recent superstars also possess (or did possess) Perfect Pitch:

Climbing the Ladder of Musical Success

Although many highly paid artists do not have Perfect Pitch, it is interesting to note that the further you climb up the music ladder, the more commonplace the ability becomes.

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.

And surveys indicate that half of today’s most popular recording artists have Perfect Pitch, rising to 87% for top concert performers.

The Golden Rule of Music:

Professionals rate a good sense of pitch as the most valuable asset of musicianship — higher even than other factors like good rhythm, technical facility, accurate memory, and creativity.

Even with years of music lessons and the finest instrument, the Golden Rule of Music holds true

Yet all through the centuries, few have ever cracked the secret for gaining Perfect Pitch . . .

. . . that is, until 14-year old David Lucas Burge made it his personal quest to find the answer at Springer Junior High School . . .

The true story of how David Lucas Burge
discovered the secret to Perfect Pitch.

Published in music magazines around the world
for decades, this true life story has become a classic.

It all started in ninth grade as
a sort of teenage rivalry . . .

I’d slave at the piano for five hours daily. Linda practiced far less. Yet somehow she always shined as the star performer at our school (Springer Junior High, in a suburb of Wilmington, Delaware).

It was frustrating. What does she have that I don’t? I’d wonder.

Linda’s best friend, Sheryl, bragged on and on to me, adding more fuel to my fire.

“You could never be as good as Linda,” she would taunt. “Linda’s got Perfect Pitch.”

“What’s Perfect Pitch?” I asked.

Sheryl gloated about Linda’s uncanny abilities: how she could name exact notes and chords — all BY EAR; how she could sing any tone — from memory alone; how she could play songs — after just hearing them; the list went on and on…

My heart sank. Her EAR is the secret to her success I thought. How could I ever hope to compete with her?

But it bothered me. Did she really have Perfect Pitch? How could she know notes and chords just by hearing them? It seemed impossible.

Finally I couldn’t stand it anymore. So one day I marched right up to Linda and asked her point-blank if she had Perfect Pitch.

“Yes,” she nodded aloofly.

But Perfect Pitch was too good to believe. I rudely pressed, “Can I test you sometime?”

“OK,” she replied.

Now she would eat her words…

My plot was ingeniously simple. When Linda least suspected, I walked right up and challenged her to name tones for me — BY EAR.

I made her stand so she could not see the piano keyboard. I made sure other classmates could not help her. I set up everything perfectly so I could expose her Perfect Pitch claims as a ridiculous joke.

With silent apprehension, I selected a tone to play. (She’ll never guess F#, I thought.)

I had barely touched the key.

“F#,” she said. I was astonished.

I played another tone.

“C,” she announced, not stopping to think.

Frantically, I played more tones, skipping here and there all over the keyboard. But somehow she knew the pitch each time. She was AMAZING.

“Sing an Eb,” I demanded, determined to mess her up.

She sang a tone. I checked her on the keyboard — and she was right on!

Now I started to boil. I called out more tones, trying hard to make them increasingly difficult. But 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 that was all I could get out of her!

The dazzle of Perfect Pitch hit me like a ton of bricks. I was dizzy with disbelief. Yet from then on, I knew that Perfect Pitch was real.

I couldn’t figure it out . . .

“How does she DO it?” I kept asking myself. On the other hand, why can’t everyone recognize and sing tones by ear?

Then it dawned on me. People call themselves musicians and yet they can’t tell a C from a C#? Or A major from F major?! That’s as strange as a portrait painter who can’t name the colors of paint on his palette. It all seemed so odd and contradictory.

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 out for myself. With a little sweet-talking, I got my three brothers and two sisters to play piano tones for me — so I could try to name them by ear. But it always turned into a messy guessing game I just couldn’t win.

Day after day I tried to learn those freaking tones. I would hammer a note over and over to make it stick in my head. But hours later I would remember it a half step flat.

No matter how hard I tried, I couldn’t recognize or remember any of the tones by ear. They all sounded the same after awhile; how were you supposed to know which was which — just by listening?

I would have done anything to have an ear like Linda. But now I realized it was way beyond my reach. So after weeks of work, I finally gave up.

Then it happened . . .

It was like a miracle . . . a twist of fate . . . like finding the lost Holy Grail . . .

Once I stopped straining my ear, I started to listen NATURALLY. Then the simple secret to Perfect Pitch jumped right into my lap.

Curiously, 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 really “let go” — and listened — to discover these subtle differences.

Soon — to my own disbelief — I too could name the tones by ear! It was simple. I could hear how F# sounds one way, while Bb has a totally different sound — sort of like “hearing” red and blue!

The realization struck me: THIS IS PERFECT PITCH! This is how Bach, Beethoven, and Mozart could mentally envision their masterpieces — and know tones, chords, and keys — all by ear!

It was almost childish — I felt sure that anyone could unlock their own Perfect Pitch with this simple secret of “Color Hearing.”

Bursting with excitement, I told my best friend, Ann (a flutist).

She laughed at me. “You have to be born with Perfect Pitch,” she asserted. “You can’t develop it.”

“You don’t understand how Perfect Pitch works,” I countered. I sat her down and showed her how to listen. Timidly, she confessed that she too could hear the pitch colors. With this jump start, Ann soon realized she also had gained Perfect Pitch.

We became instant celebrities. Classmates loved to call out tones for us to magically sing from thin air. They played chords for us to name by ear. They quizzed us on what key a song was in.

Everyone was fascinated with our “supernatural” powers, yet to Ann and me, it was just normal.

I began to shake up the old school of thought that said “You have to be born with Perfect Pitch” . . .

In college, my so-called “perfect ear” allowed me to skip over two required music theory courses. Perfect Pitch made everything easier — performing, composing, arranging, transposing, improvising, and even sight-reading (how? because — without looking at the keyboard — you know you’re playing the correct tones). And because my ears were open, music just sounded richer.

I learned that music is truly a HEARING art.

Way back then, I never dreamed I would later cause such a stir in the academic world. But, after I entered college, I started to explain my discoveries to more people. I often said that “Pretty much any musician can have Perfect Pitch if they just know how to listen.”

Some professors laughed at me. My words (at that time) were completely against the common understanding about Perfect Pitch.

Still later, I toured colleges and universities in the US and Canada with my Perfect Pitch Seminar (photo at right and news clipping above).

But again, the “erudite experts” often laughed at me.

“You must be born with Perfect Pitch,” they’d solemnly declare. “You can’t develop it!”

I would always listen politely. Then (with perhaps a hint of flourish) I’d reveal to them the simple secret to Perfect Pitch — so they could hear it for themselves.

You’d be surprised how fast they changed their tune!

I soon learned that the ONLY way people ever become convinced they can have Perfect Pitch is when they actually hear it for themselves.

So . . . whatever
happened with Linda?

Oh yes, flashback to my senior year of high school . . .

I was nearly 18. In these three-and-a-half years with Perfect Pitch, my piano teacher insisted I had made ten years of progress. And I had. But my youthful ambition still wasn’t satisfied. I needed one more thing: to beat Linda.

Now was my final chance.

The University of Delaware hosts a music festival each spring, complete with judges and awards. To my horror, they scheduled me that year as the grand finale of the event.

The fated day arrived. Linda gave her usual sterling performance. She would be tough to match, let alone surpass. But my turn finally came, and I went for it.

Slinking to the stage, I sat down and played my heart out with selections from Beethoven and Chopin, and the Toccata by Ravel. The applause was overwhelming.

Afterwards, I scoured the wall, searching for our grades among the top tier performers. I saw that Linda received an A, no surprise.

Then what to my wondering eyes should appear — my own score: an A+.

Sweet victory was music to my ears, mine at last!

Now its YOUR turn . . .

I’m happy to share with YOU the exact same secrets I’ve shared with so many people, starting all those many years ago in high school.

Please — don’t laugh at the thought that you too can have Perfect Pitch. Throughout all these years, I’ve found there’s only one thing that is sure to convince you . . .

. . . and that is when you hear it for yourself.

Best wishes,
David Lucas Burge

Hear It Now for Yourself

Musicians around the globe have told us they’d give anything to gain the “A List” hearing powers of Perfect Pitch.

Fortunately, you don’t have to give your right arm.

The good news is:

Perfect Pitch is already a natural talent — hidden inside you — waiting for you to take a moment to LISTEN . . . and discover it for yourself.

How can we be so sure? . . . Thirty years of experience and success with musicians all over the world — that’s how we’re so confident.

We want you to experience Perfect Pitch for yourself.

That’s why today we offer you the same ironclad 40-Day No Risk Money Back Guarantee that we have offered musicians for 30 years . . .

How can we dare to make this guarantee?

We’ve found for 30 years that 97% of our new musicians experience their first taste of Perfect Pitch — immediately.

(The rest usually get it after they listen a little more closely.)

We’re betting that YOU will be among those who hear it right away.

Will YOU actually hear with Perfect Pitch?

We’re pleased to GUARANTEE that you will experience your own Perfect Pitch — or you receive a full refund.

There’s no risk

Imagine the talents that Perfect Pitch can open up for YOU — to advance your playing, your singing — your own creativity and confidence.

But then again:

There’s no risk, you have nothing to lose, and you have an expert set of musical talents to gain.

Discover Perfect Pitch with YOUR OWN EARS, one of your most valuable musical assets — guaranteed.

Order your Perfect Pitch® Ear Training SuperCourse now with your $30 Celebration Discount (see below).

Perfect Pitch Research

Independent research at leading universities demonstrates the power of Burge’s methods.

From the Far East to the Far West, musicians in over 120 countries have already learned the simple secrets to Perfect Pitch (known in scholarly circles as Absolute Pitch).

Yet the debate about Perfect Pitch had raged for decades: Could you develop it? Or was it a supernormal hearing skill that only the elite are born with?

David Lucas Burge released his simple secret to Absolute Pitch in the March 1981 issue of Contemporary Keyboard (now Keyboard magazine). The music world became intrigued, though at that time there was no research to substantiate his methods. Even so, thousands of musicians took up the program.

Independent research from two leading universities would later show dramatic results with Burge’s Absolute Pitch methods. Here are some review highlights:

STUDY #1 

Students become Absolute Pitch possessors

Research on Burge’s Absolute Pitch methods was first conducted at the Ohio State University. To make a 401-page story shorter: As many as “three of the five subjects who completed the training regimen actually became possessors [of Perfect Pitch/Absolute Pitch]”1 — despite the brief training period.

Of special interest in this study is the following: All of the students were tested for Absolute Pitch on piano, regardless of their native instruments. This makes the results even more remarkable, because Burge teaches that pitch recognition occurs first only on one’s own familiar instrument. Says Burge:

At first you begin to recognize pitches only on your own instrument. If you are a guitarist, you learn to quickly recognize tones on the guitar, but your ear might not catch the pitches on the piano or other instruments at first. Then, once your ear gets used to recognizing pitches on your guitar, the ear awareness expands to include all other instruments as well. [Burge fully explains the step-by-step levels of Absolute Pitch development in his Perfect Pitch® Ear Training SuperCourse.]

Since flutists, guitarists, trumpet players, etc. all were tested on piano — and not their own native instruments — any ability of pitch recognition is quite remarkable, even to Burge, who would not expect a flutist to recognize tones on the piano during the initial stages of Absolute Pitch development.

The researcher concludes that the statistics “clearly indicate dramatic improvement as a result of [Burge’s] training [which] was found to be significant for all measures of absolute pitch ability.”2 This achievement undoubtedly has raised many brows and indicates a startling breakthrough in music self-development.

What is the experience of Perfect Pitch like?

Students commented on their brand new Absolute Pitch abilities: 

What’s really strange is listening to the radio and naming the pitch … This has been especially helpful in sight-reading skills (with or without my instrument)…3

It has improved my tonal memory greatly. I can now tell when someone is playing the same piece in a different key than from when I heard it several days before.4

My overall ear developed; I hear things much clearer and sharper. Pitches [are] much more definite and focused.5

It sharpened my ability to listen, hear inner tones and express the overall music … I derive more pleasure from practicing…6

A sax player says: Intonation problems seem to be much more obvious to me. When playing with groups it is easier to detect what I need to do to play in tune…7

A vocal student envisions the ease of a singing ensemble of Perfect Pitch graduates with “perfect intonation and not having to give starting pitches.”8

STUDY #2
Perfect Pitch is like learning how to swim

At the University of Calgary (Alberta, Canada), a more thorough research study was completed by Marguerite Elaine Nering. After students had used Burge’s Perfect Pitch methods a few minutes daily for only two months, Nering found:9

Of the six highest-ranking experimental subjects…, four show acquisition of the ability [italics hers] … Indeed Burge’s Perfect Pitch course seems to be a very effective method for acquiring Perfect Pitch.10

Although literature has shown the powerful association between … early age and Perfect Pitch possession, this experiment has shown that by training in the Burge method, the ability can be improved and even acquired among adults … This improvement can take place in a fairly short time, as was the case in this experiment. A few with keen pitch acuity can even acquire Perfect Pitch ability in a short time.11

This experiment among others should lay to rest the myth about Perfect Pitch possessors being born, not made … It is similar to learning a skill such as swimming, in that one must be exposed to it and work at it to one extent or another.12

The greatest composers and musicians possess or have possessed Perfect Pitch ability or at the very least a high degree of pitch acuity. This alone is enough to attest to the value of Perfect Pitch training. Music is a hearing art; a musician can perform only as well as he or she can hear. As aural acuity is improved, so is musicianship. Perfect Pitch is a high degree of aural acuity.13

Some of [the] benefits [of Absolute Pitch/Perfect Pitch] are greater creativity, sensitivity, enjoyment, better ability to tune, listen keenly, compose, better knowledge of key, greater language adaptability.14

As more musicians acquire the ability and an acceptance of Perfect Pitch as an acquirable ability becomes more commonplace, it should become regarded as a more natural ability that … always benefits [one’s] musicianship.15

Burge deserves much credit for removing a great deal of the mystery from Perfect Pitch and for making it readily available to the average musician. He does this in terms any layman can understand. By setting aside the technical discussions … he has been able to get on with the practicalities … devising a course capable of benefiting many. Lessons … follow a logical and complete sequence and are simple to understand.16

Of importance to this study is that through this method almost anyone, it seems, can acquire the ability of Perfect Pitch … His course seems to be an idea whose time has come.17

The Burge course has proven itself through this study and that [at Ohio State University] to be an effective means of improving pitch discrimination and even acquiring Perfect Pitch.18

Because of the effectiveness of the Burge Perfect Pitch technique and the apparent value of Perfect Pitch ability, it seems a reevaluation of theory course content and of methods of teaching ear training in schools, universities, and musical institutions is in order.19