A TEACHER'S GUIDE to

How to Play the Piano By Ear

I. The Original Introduction
II. The Author's Advice to Parents & Teachers
III. The Ultimate Goal

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I. The original Introduction

I have just read a very interesting book entitled, How to Play by Ear by M. Emett Wilson. It is
directed toward teaching the novice to enjoy and gain facility in playing the piano, although
the principles could well be applied to the playing of any instrument. Mr. Wilson does this by
discarding as unessential most of the technical impedimenta that usually confront the aspiring
student who wishes to play the piano for relaxation, recreation, and a little individual
expression.
In an ingenious manner the author avoids the use of any printed music or chart of the piano
keyboard. He does this, for the most part, by referring primarily to songs where the melody, at
least, is familiar. However, Mr. Wilson is not satisfied with giving only procedures whereby
someone will be able to "pick out" melodies with one finger. He gradually leads students into
the open sesame of using basic harmonies.
The author approaches his problem with missionary zeal. He rightly points out that the
intricacies of a musical score have been the primary barrier for many people gaining sufficient
skill at the piano to use it as a medium of enjoyable expression. We thoroughly agree with him
that it is undoubtedly the major factor for the high mortality rate of young people dropping their
study of the piano after auspicious beginnings. We say "Amen" to the claim that playing by
ear is a more musical approach to piano study than a meticulous, rigid adherence to the
printed page.
In his enthusiasm, he almost gives the impression that playing from the printed page is
harmful. However, we feel sure that he would condone the use of the score at the proper time
and with proper balance in conjunction with playing by ear. But like the champion for a
spiritual cause, Mr. Wilson extols the virtues of his theme to the disparagement of all other
approaches to playing the piano.
His zealous opinions have probably been formed as a reaction from the old-age belief that the
only approach to playing the piano was by and through the notes. The mere thought of
playing by ear was frowned upon universally by piano teachers. The Puritanical dictum of
"stick to the notes" has very likely been an influential factor in the piano losing its place as the
predominant and most prized piece of furniture in the American home. As a young student of
the piano, we can remember our feelings of guilt when we succumbed to the temptation of
picking out popular and folk tunes by ear and then harmonizing them. So we hail a champion
who points out the absurdities and falsities of the outmoded premises and procedures in the
teaching of the piano.

The author points out in his preface that, to varying degrees, everyone can play by ear.
However, he is wise to emphasize that it is not a gift from heaven, but that this approach to
piano playing as well as any other approach requires diligent practice. The difference lies in

the fact that such practice is more enjoyable and more musical, because music, being
primarily an art of tone, needs continuous attention to the training of the ear. It is playing by
ear that develops assurance on the part of the performer and frees him from the bondage of
those dictatorial notes.
According to the author, in approaching piano playing by ear, one should avoid referring to
the printed musical page even though one can read notes. Such practice is defeating the very
purpose of the approach. One may stumble and stagger through a tune, but continual
experimentation sharpens the ear, and dexterity of the fingers will follow.
Now the approach is through listening. Take the time to listen to your favorite songs and
recordings. Then try to sing or whistle the melodies. The ability to do this is the first step, and
a repertoire of tunes learned in this manner will serve as a storehouse of pieces to be played
by ear at the piano.
Where shall we begin? "Anywhere," says Mr. Wilson. Mary Had a Little Lamb is as good as
any tune. A description of the piano keyboard follows after this pronouncement with a table of
the letter 3 used in this song. However, there is a caution not to depend upon these letters
because, strictly speaking, this is not playing by ear.
The author devotes little attention to finger technique, but he does give some useful
suggestions concerning hand position and the use of the fingers. To encourage proper use of
the fingers he recommends the playing of a number of tunes using only five consecutive
tones before trying melodies with a more extended range.
The student is encouraged to play the tunes that he knows over and over again and in a
variety of ways: use the left hand as well as the right; play the tunes with both hands together
one octave apart; play them starting on different pitches or, in other words, in different keys.
After considerable practice in playing tunes, the student is led to an understanding of scale
construction, whole steps and half steps, flats and sharps, keys, and the use of correct
fingering in playing scales. Mr. Wilson contends that there is no aversion on the part of the
novice to playing scales, except when it is tedious drill through the reading of the notes.
Figuring them out by ear is fun. Progress moves rapidly to the question of modulation and to
that of chording. Here is where the real fun begins. The basic chords are presented with side
trips to a discussion of cadences, discords, up beats, choice of keys, and absolute pitch.
However, it all boils down to the dictum; when in doubt use the ear.
In subsequent chapters, there is a more elaborate discussion of harmony, including a treatise
on the qualities and effects of the different triads. One pungent factor is pointed out that the
pianist who plays by ear need not worry about the various spellings of those troublesome
diminished chords. Leave this worry to the note-reader. The minor mode is not neglected but
is discussed thoroughly.

At this point, Mr. Wilson introduces an idea that I have never seen treated in any method
devoted to playing the piano by ear. Usually, playing by ear is limited to a melody with some
form of harmonic accompaniment. The author pays tribute to the superiority of polyphonic
music as written by the great composers.
It is rather strange that the author postpones until late in the book a discussion of such an
important phase of music as rhythm. However, he explains that the simple rhythms of familiar
tunes cause little trouble with the ear approach, and a detailed analysis is necessary only
when trying to play selections with more complicated rhythms.
The author points out that the chief criticism of the approach to playing the piano by ear is
based on the contention that students using this approach never learn to read music with
facility, even when they begin the study of notes. He says that facts prove that the opposite
result is true. The note-reader tends to play note by note, while the approach through the ear
nurtures a grasp of the entire phrase and clusters of notes. When this skill is transferred to the
visual sense, it will facilitate faster reading of music. We are inclined to agree with him.

The author believes that it is time for teachers of piano to take stock and re-examine their
aims and procedures. Why is it so difficult to keep young people interested in studying the
piano? The answer is to make it an enjoyable musical adventure and not limit it to dull routine
practice. Playing by ear is an approach which is proving successful for those teachers who
dare to try it.
Playing by ear need not be limited to haphazard doodling by some adolescent on some
popular tune of the day. This book presents a logical approach which can direct this type of
study to real artistic endeavor. Those teachers and students who use Mr. Wilson's book will
not only have a guide to an enjoyable experience at the keyboard, but also, will have a source
book of general information on music which will enhance listening to all types of music.
Harry Robert Wilson
Professor of Music Education,
Teachers College, Columbia University

II. The Author's Advice to Teachers and Parents Using this Manual
Children enjoy music on many accounts. They enjoy the physical fun of moving their arms
about in orderly patterns; they enjoy the praise of friends and parents; they enjoy getting a job
of satisfactory practice done; they enjoy the teacher's commendation; and they may enjoy the
music. Opposed to this enjoyment is their resistance to practice which resembles the
intellectual drill they are required to practice in school. It is this that takes the fun out of
practice and makes them hesitate to go to the piano. Anything else would be more fun
would take less concentration.
The opposite of practicing music is playing by ear, where the child plays as naturally as he
talks or tries to talk about some topic with which he is not very familiar. I am not suggesting
that ear playing be substituted for note reading, necessarily, but that enough ear playing be
encouraged to make the practice period seem funa mere dawdling. The curse of the
traditional practice period is that one must not dawdle but must concentrate continuously.
The chief advantage of ear playing, however, is psychological. Enjoyment of practice comes
from various sources, but enjoyment of music comes only from actually hearing the music.
This enjoyment persists through childhood and into adult life And this enjoyment is the main
objective of practice on any instrument.
Some children listen keenly to their playing from the very first exercise; but most pupils give
their chief attention to the reading of the notes, to accuracy, to correct fingering and
technique; and the listening is incidental. They hear the music, but not vividly. They listen to
tell whether the note is right or wrong, but they are interested only in accuracy.
Furthermore, the units which the teacher encourages the child to learnchords, scales,
melodic figures, etc.can be learned most easily by ear; but the system of note reading
encourages the child to learn them intellectually or visually. This is convenient for the teacher,
since it makes it possible to discuss them and to point out the errors. But eventually the pupil
reaches the limit of what he can accomplish by this intellectual recognition and memorization.
We say he has come to the limit of his talent; but actually we have directed him up a blind
alley.
The composer conceived these chords, scales, and melodic figures in his ear; the pupil must
learn to do likewise, if he is to hear the music. The pupil's ability to use his ear is not as great
as the composer's, but that is no reason why he should not hear and learn the music as the
composer heard it, as far as possible. After that limit is reached it will be time to turn to
memorization of notes and other non-musical methods.
If a child is naturally musical and easily hears the phrases and harmony of the music as the
composer heard them, good teaching should make the greatest possible use of this ability.
The child should learn as much as possible by ear. He should learn to find quickly on the

keyboard all the various tones and phrases which he hears so vividly in his inner ear. If,
however, we spend our time in requiring him to find quickly on the keyboard all the notes and
mechanical signs he sees on the page, he does not develop the habit of listening. By this
system he becomes more and more clever with his mind and fingers, and in a few cases he
incidentally listens keenly enough to develop his musical perception. In most cases, particularly if he has a good mind, he uses that good mind intensively to learn his music; and his
concentration is so great that he blots from his experience the real musical learning.
The child who is active intellectually needs ear playing more than any other, for he tends to
learn by means of his strongest toolhis intellect. Thus he allows his natural musical curiosity
to stagnate. Ear playing immediately develops musical curiosity and later may utilize all the
power of intellectual acumen.
If, on the other hand, a child is not naturally musical and finds difficulty in remembering
musical phrases, he is not likely to exercise this feeble ability unless he is required to do so.
He can win the approbation of teacher and parent much easier by reasoning or remembering
which key to punch, what the name of the note is, or which finger to use. Thus he does not
develop any feeling for music and discontinues his lessons as soon as he is permitted. It is as
if we were going through a famous art gallery and every time we approached a painting our
guide demanded that we judge the dimensions of the frame, the exact name of each color,
the number of brush strokes required to construct a figure, etc. After making such a trip once
a week for ten weeks, we would rebel. So does the pupil!
The antipathy to ear playing is very widespread and is justified if by ear playing we mean the
clumsy chording of popular tunes by some unrefined, overgrown adolescent; but we must not
forget that ear playing can be refined under the guidance of a good teacher. Even if the
process is slower, and I do not believe it is, the teacher will have more opportunity to build a
solid appreciation of music, because the ear player enjoys his music and will not stop taking
lessons so long as he is permitted to enjoy it.

The teacher does not need to be an expert in ear playing. Indeed, we have not done enough
teaching of ear playing to know much about good procedure. A few observations may help,
however.
Allow the pupil to attempt whatever he wants. It is impossible to tell what will catch his ear, or
why one piece appeals to him and another does not. He certainly is not particularly attracted
by simple pieces. The determining factor may be a melody or the particular instrument by
which it is played; it may be an extraneous associationa climax in the movie, the school
song, a comedian's antics. The frequency with which he has heard the piece is the most
apparent cause of a desire to learn a particular number.
Regardless of the source, however, he will learn most easily the number that is vividly in his
ear and that he is anxious to learn. He will not be able to play it all the way through; he may

only learn the phrase; but, so far as he goes, it is sincere learning and will have its effect on
later pieces.
The teacher's part is to listen interestedly and suggest one or two improvements. A chord that
is being unsuccessfully sought may be provided; or a chord that appears to satisfy the pupil
may be replaced by the correct chord, which the pupil will welcome as soon as he can find it.
This puts the new chord into his repertoire and the next time he hears it he will be able to find
it.
Help in fingering is always appreciated; and there is no better place to learn good fingering
than right here, where the advantage is felt immediately and enthusiastically. But the greatest
contribution the teacher can make is the suggestion of pieces within the capacity of the pupil.
The first chapters of this book should be helpful here and will suggest many other
compositions which the teacher knows are particularly well suited to the situation. The
teacher's good judgment and enthusiasm are his best contributions.
Everyone has wanted to play by ear at some time in his life; music teachers are no exception.
The raucous execution of some overambitious ear player may have killed his desire, but more
frequently it dies of neglect. The player becomes so expert at performing from notes that he is
unwilling to spend time with trifling ear pieces. He soon decides that he has no talent in that
direction and is ashamed to attempt even the most simple tune by ear.
But lack of talent does not interfere; any music teacher can learn to play by ear and can learn
much more rapidly than the casual student, since he already has a well-developed ear and a
complete knowledge of harmony and technique. His only handicap is that he is accustomed to
perfection, and in his earlier stages the ear player must not be a perfectionist.
If the teacher will go through the agony of the early phases of learning to play by earand it
is indeed agony for one who enjoys a high type of performancehe will not only realize what
should be taught the pupil in ear playing, but he will also learn much about his own musical
talent, its limitation, and the means for extending it. The sophisticated music teacher finds in
ear playing an extensive psychology of music learning. Practice in ear playing is profitable
from many different angles, and, if he will persist, the music teacher may enjoy it as much as
anyone else. In any case, he will listen more keenly to music than he has ever listened
before. Try it.

III. The Final Objective: What you REALLY Want to Accomplish

Ear playing is a pastime. At its lowest level it is little more than aural doodling with an
instrument. We play with this musical tidbit; we attempt that trivial air. But the delight in
musical form draws us on. The folk tune, the popular song, the easy classiceach step
makes the next possible. Where is the end?
Where is the end of any human endeavor? We find it within ourselves. The triumph of culture
is not an ideal that lies without but a feeling that is latent in everything that is human. In so far
as music is a factor of that culture, it must be realized within the realm of our feelingof our
aesthetic appreciation. The performance of music from notes, no matter how flawless, is no
guaranty that it has cultural value for the performer. The complicated signs of a musical score
may be followed meticulously without any consideration for the musical meaning. But the
most humble attempt to play by ear brings one immediately into sincere communication with
the originator of that musical idea, be it Bach or Berlin.
We do not learn to play by ear in order that we may play and enjoy a piece of music. The
process of learning is itself the enjoyment; the playing is merely incidental. Is it surprising,
then, if others prefer to listen to this type of playing?
Ear playing is possible not only with the simplest types of musical composition but also with
the greatest masterworks. When we rely upon notation, we admit our own limitation.
Where our limitation shall be depends upon our ability to really hear all that the
composer put into the score. Notation is helpful; it is the last resort when our ear has
reached its limit. But why encourage that limit by allowing the ear to atrophy through
disuse, while we slave with notation which at best is nothing but a guide book?
Our approach to music has been ill advised; we have developed the obvious
mechanical aspect and disregarded the pleasant aesthetic growth. We do not even
know how much can be accomplished by ear; it has never been cultivated seriously
enough to prove its worth.
Let the teacher and student of this book be explorers into the fields of finer musical
understanding. He may prove that his pastime is the most effective approach to the great
music literature. He certainly will increase his musical understanding by every moment of
practice which he enjoys.