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To enable all 24 intervals, please register this shareware at At least 1 interval must be selected.qdnawpjojmPalm OS v. 3.0 or higher is required. Please upgrade & try again. (It's available from www.palmos.com.)Error: The Pocket Toolbox is reporting that it's version . Please inform brian@lilytears.comReplay1.0No intervals are selected! Instructions will drill you in the skill of recognizing musical pitch intervals, a vital foundation of musicianship. A random interval will be sounded, & you must identify & indicate it correctly by name to proceed. (You can educate yourself regarding the intervals & their relationships, names & symbols from the Menu option "Theory".) Hitting "Replay" will replay the last interval sounded. You may select which intervals you are to be drilled in from the Menu option "Interval Selection". It's recommended that you try to begin with only the intervals that you can already identify, then slowly add more intervals one at a time as your skill advances to allow it. (Only 8 of the 24 intervals will be allowed, & a nag window will appear, until you register this shareware at .) Further ear training instructions will be found from the Menu option "Theory", especially the last 3 sections there. Please direct questions or suggestions to DoneEar Trainer: TheoryInterval FundamentalsInterval SymbolsEar TrainingRelative PitchA Mnemonic TechniqueA Mnemonic ExampleApplication of the ExampleAn interval is the difference in pitch between any 2 notes. The terminology of musical intervals is based on counting through 7 degrees per octave, similar to a scale structure: If the 2 notes in an interval are the same, it's called a 1st or unison. The next larger intervals are a minor 2nd, a major 2nd, a minor 3rd, a major 3rd & so on. You'll notice that the 2nd & the 3rd have a quality described here: minor or major (the latter being a slightly larger interval than the former). Most intervals are this way, but not all of them. The intervals that can be minor or major are so because in the conventional scales & chords they frequently vary between those 2 qualities or interval sizes. (Besides the 2nd & 3rd, intervals that can be minor or major are the 6th & the 7th.) Some intervals, however, usually do not vary, & are considered to have 1 default quality or interval size, which is called "perfect". The intervals that are usually perfect are the 4th, 5th & 8th. (The latter is also called an octave.) Next after the major 3rd is the perfect 4th. Between the perfect 4th & the perfect 5th is an interval sometimes called a tritone, because its size is that of 3 consecutive "tones". (A "tone" is the size of a major 2nd, & a "semitone" that of a minor 2nd.) Alternatively, the interval of the tritone may be called an augmented 4th or a diminished 5th, depending on the musical context. After the perfect 5th is the minor 6th, then the major 6th, minor 7th, major 7th & the perfect 8th or octave. When 2 notes are an octave apart, those 2 pitches have the same name. In other words, if either of them is a "C", then the other is also a "C", just in a different octave. The frequencies of 2 notes an octave apart have the ratio of 1:2, i.e. the higher of the 2 notes has twice the frequency of the lower. For this reason, the 2 notes both stimulate the mechanism of the ear very similarly, & this close similarity in harmonic effect is why the note names simply repeat every octave. Intervals have a similar repetition in each octave, though their names don't repeat. If the interval of a minor 2nd were enlarged by an octave, it would become a minor 9th, the major 2nd would become a major 9th, the minor 3rd a minor 10th & so on. Intervals smaller than an octave are called simple, & those larger than an octave are called compound. A simple interval can be compounded by adding an octave to it, e.g. the compound major 3rd is the major 10th. Likewise, a compound interval can be simplified by reducing it an octave, e.g. the simple perfect 11th is the perfect 4th. Most applications will only require familiarity with the 1st octave, but it will eventually be useful to memorize which pairs of intervals simplify & compound to each other (which is shown next).Following are the common symbols, full names & some alternative symbols for the intervals. ("b" is the symbol for "flat", which means lower. "#" is the symbol for "sharp", which means higher. The minor intervals are sometimes called "flat" instead of "minor", but the major ones aren't called "flat" or "sharp" in this context. "Sharp" usually applies only to making the 4th higher than perfect. Other terms for altering the otherwise-perfect intervals are augmented [aug.] & diminished [dim.].) Common Alt. sym- sym- bol____Full_name_____________bol____ m2 Minor 2nd b2 M2 Major 2nd 2 m3 Minor 3rd b3 M3 Major 3rd 3 P4 Perfect 4th 4 TT Tritone/aug. 4th/ #4/ dim. 5th b5 P5 Perfect 5th 5 m6 Minor 6th b6 M6 Major 6th 6 m7 Minor 7th b7 M7 Major 7th 7 P8 Perfect 8th/octave 8ve m9 Minor 9th b9 M9 Major 9th 9 m10 Minor 10th b10 M10 Major 10th 10 P11 Perfect 11th 11 CTT Compound tritone/ #11/ aug. 11th/dim. 12th b12 P12 Perfect 12th 12 m13 Minor 13th b13 M13 Major 13th 13 m14 Minor 14th b14 M14 Major 14th 14 P15 Perfect 15th/ 15 compound octave The intervals simplify & compound as follows: ___Simple___Compound___ m2 m9 M2 M9 m3 m10 M3 M10 P4 P11 TT CTT P5 P12 m6 m13 M6 M13 m7 m14 M7 M14 P8 P15A well-trained ear is essential to good musicianship, no matter what the application. Many amateurs may remain ignorant of this aspect of musical study, but all talented musicians have a good ear, whether by chance development or deliberate training. However, truly fulfilling the abilities of any musician's ear is greatly accelerated by deliberate training. There are 2 major categories of aural recognition: (1) the absolute recognition of the pitch of a note, which is called Perfect Pitch; & (2) the recognition of the exact difference between any 2 particular notes, which is called Relative Pitch. Perfect Pitch is very rare, very difficult (though possible) to develop & enables a very different perspective of music than usual, akin to suddenly seeing color where everyone else is seeing only a grayscale. For the overwhelming majority of people, music composition, performance & audition never involve Perfect Pitch. For that reason & others, Relative Pitch is probably more important, & its development is the exclusive charge of this program, Relative Pitch is indispensable for identifying musical structures, whether in the inscription of existing music, the analysis of compositions by ear, identification of fellow bandmates' expositions &/or identification of music heard mentally while writing or expressing in real-time. Relative Pitch is just as indispensible for the mental construction of musical structures: whether their symbols be read or remembered by name, called for by bandmates in preparation for or during performance, or put in service to conceptual exploration while composing or performing improvisation. In fact, the deliberateness of the harmony of any musical performance may be considered dependent upon the performer first hearing the intended pitches in the mind's ear, which are usually constructed therein entirely by the means of Relative Pitch.The development of Relative Pitch requires repetitive drilling, but there is an effective mnemonic technique which can be employed to accelerate the results of such drilling, which is to associate each of the pitch intervals with a fragment of music that begins with that interval & which is already well-memorized. This will allow you to recall the interval into your mind's ear by simply recalling the beginning of the music fragment. The best fragments to use should be ones that you enjoy & know well & can therefore easily recall clearly, consistently & regardless of context. If you were to go through all the music of your favorite band or bands, chances are good that you would discover a memorable fragment of music for most of the pitch intervals up to at least an octave, & this is highly recommended.Following is an example of the previously-described mnemonic technique (in which each interval up to an octave is associated with a fragment of already-memorized music) utilizing the material of the classic Black Sabbath albums (during the original "Ozzy years"): m2: The Wizard, 2nd riff (1-1, m2 1) or Hand of Doom, 5th riff (m2 1-1, 1, 1, 1, 1, 1, 1) M2: War Pigs, 1st riff (8, m7) or 2nd riff (m7-8) or NIB, 1st riff (8 8 m7 8, m10 M9, 8 8 m7 8, 11-12 11 m10...) m3: The Wizard, 1st riff (8, m10, 8, m10 m10 11-12-m14-11 m10- 8-m7) M3: War Pigs, 1st vocal: "Generals gathered in their masses..." P4: Sweet Leaf, 1st riff (1 1, 4- M3-m3, 1 m3, 4) TT: Symptom of the Universe, 1st riff (1-1-1-1-1-1-1-TT, TT 1- 1-1-1-1-1-1-8 TT, TT) P5: Electric Funeral, 2nd riff (1, 5, TT, 4 m3, 1 1 1 1 5, TT, 4 m3) or Snowblind, 2nd riff (8, 8, 4 8, 4 m7 m7 m7-8-m3) m6: Children of the Grave, 2nd riff (1 1-1-1-1-1 1-1-1-1-1 1-1-1- 1-m6, 5) M6: (None found) m7: Lord of This World, 1st riff (1, 1-1 m7, M6, m7 8 5, TT, 5, TT- 5) M7: (None found) P8: Black Sabbath, 1st riff (1, 8, TT-5-TT-5-TT-5...)After the interval-fragment correlations are memorized, their utilization is simple: Say you hear a particular interval you wish to recognize. If the interval name or fitting music fragment doesn't come to mind right away, take a guess. Suppose you guess the interval sounds like a 5th. Following the example presented above, if Black Sabbath were one of your favorite bands, you would recall that the riff that begins with a 5th is the main one of the song "Electric Funeral". Because you love this tune, you can easily recall the sound of this riff, basing its 1st note on the lower note of the interval in question. If the riff's 2nd note matches the higher note of the interval in question, then you know the interval in question is a 5th. If it doesn't match, then you'll probably get it in one more guess. Of course eventually your aural associations will become so well reinforced that you'll begin recalling the sound of the intervals without even bothering with the music fragments, but meanwhile this memory aid really is an effective stepping stone. Another utilization is when you need to construct a pitch by ear: Say your bandmate is singing a particular note & has requested that you sing the note a major 3rd above it. You'd recall that the musical fragment for that interval is Ozzy's main vocal in the tune "War Pigs". In your mind, you would begin Ozzy's vocal melody on the note your friend is singing, & the 2nd note of Ozzy's melody will be the major 3rd you want to sing. In other words, what you're doing is bringing to mind the lyric "Generals gathered in their masses...", & you're simply starting it with "Generals" on the note your friend is singing & then taking your note from the pitch of "gathered". Of course, if Black Sabbath isn't your favorite stuff, figure out for each interval a music fragment from your personal favorite music. (In time, interval-fragment correlations from the music of several great bands will be available at .)Register This version of is already registered for use on this Palm device. Check for the latest version, register for other Palm devices & discover more useful Palm software at Thanks for considering registering this shareware. Check for the latest version & get your registration code at . This is version , & your Palm system user name is "".Enter your registration code:Thank you for registering. Please direct questions or suggestions to , & be sure to check out the other useful Palm software at That registration code is not valid for this version of on this Palm device. Please visit for the latest version of &/or a valid registration code.About v. Copyright 2004Brian L. 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NO6//NO"0O &$_Nu_ܗFile: %s Line: %d %sA dr: %li Func: %s %sA dr: %li %sPocketC.c p@Out of memoryUnable to init PcDBThis version of PocketC requires PalmOS 2.0No a plet selectedE ror finding a plet '%s'E ror deleting a plet '%s'Invalid a plet databaseUnable to load library '%s'This a p was created with a newer version of PocketC, and may not run properly. To get the cu rent version, go to !w.orbworks.comInvalid a dre s !@Inco rect type !@Not enough memory to execute a pletlidLoading %s!.@PcDBMi sing a p info blockMathLibSerial LibraryByteCode: %d %sAalertZBWHputs[BXHgets[BZHclear^ZvIstrlenYB`HsubstrYBbHstrleftXBc@Hst rightWBbHstruprYBcHstrlwrYBdBHcos\BOnHsin\BOnHtan\BOnHacos[BOnHasin[BOnHatan[BOnHcosh[BOnHsinh[BOnHtanh[BOnHacoshZBOnHasinhZBOnHatanhZBOnHexp\BOnHlog\BOnHlog10ZBOnHsqrt[BOnHpow\BQ Gatan2ZBQ Grand_S IrandomYBTdIb ep[BgvItone[BgIgraph_on[jIgraph_o fZj4Iclearg]jRItext[BjAFline[Bl4Irect[BnItitleZBmHtexta trWBoIwait_hIwaitp^hfIgetc_hIpenx_iIpeny_jIhex\BM IframeZBnItime[BKI mputsYBLH mgetl].I meof^I mrewind[I mdelete[IstrstrYBW GbitmapYBpInputy z/ HP{?$ OK|-?$ Cancel@܈ JGraphics2Px H @ L OKThis is a freeware runtime only version of PocketC. To obtain the full version, which allows you to write and compile your own applets: Visit OrbWorks at www.orbworks.comThis is a list of the applet-created databases currently on your PalmPilot. 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