THE PRACTICE ROOM β DAILY EAR-TRAINING WARM-UPS
A small, capped community of musicians doing the same foundational warm-ups every day. Two new ones a week. Simple on purpose β and thatβs exactly why it works.
$14/Month βΒ Cancel Anytime
THE PART YOUβRE ACTUALLY STUCK ON
The Practice Room solves the second one: a short, repeatable warm-up you can genuinely keep up with, company while you do it, and a teacher paying attention to how youβre coming along β not an app.
Sixteen minutes. A tonic drone to tune your ear to βhome,β a daily routine built around one interval at a time, mirror exercises, and interval and chord work β all anchored to a pitch you return to every single session. Two new warm-ups post each week, on Tuesdays and Fridays. Thatβs the whole commitment.
β’ A tonic drone β so every note you make is measured against home.
β’ The Daily Routine β long-tone stability, the interval of the month, scales, and triads.
β’ Mirror Exercises β the same interval drilled by ear and by number.
β’ Interval & chord work β sing it, hear it, identify it.
his audio is from Day 4 β by now you've had the setup and know exactly how to use it. Press play and try it.
Simple material is the only place tone and intonation have nowhere to hide β itβs why every great player still does long tones, scales, and plain intervals. And itβs only as easy as you let it be: audiate the line in a different instrument, stack two exercises at once, drop the reference pitch and find it cold. The notes stay simple; the demand is endless.
Because you return to the same home pitch every day, you slowly start to remember it β researchers call it the Levitin effect. Iβve watched whole classes that couldnβt find a C in August land on it by December, some on command. Itβs not perfect pitch, and I wonβt promise itβll happen for you β donβt chase it. But take the slow, relaxed road, and a reliable sense of home tends to arrive on its own. Paired with the relative pitch youβre already building, Iβd argue thatβs even more useful.
Iβm a pedagogue first β a different gift than performing. My north star is Nadia Boulanger, who trained some of the last centuryβs most important composers and set aside her own composing because she knew her real strength was developing other peopleβs talent. Thatβs the tradition I teach from. βThose who canβt, teachβ was meant as an insult β but done well, the teacher is the foundation the doers are built on. Iβd rather be the ear that helps you find yours.
The Practice Room is capped at 350 members β the number of students I could personally keep track of when I taught in person. I want it to stay at that human scale. No one here is just another subscriber. Unless youβd rather stay anonymous, Iβll know who you are and how youβre progressing.
This is for you if:
β’ You know daily ear work matters, but the habit wonβt stick on your own.
β’ You want real foundations β intervals, intonation, a steady inner pitch β not flashy shortcuts.
β’ Youβd rather train alongside other people, with a teacher who actually notices you.
Itβs probably not for you if:
β’ You want a gamified app with badges and no human contact.
β’ Youβre after advanced transcription right now β thatβs Flawless Ear Training, not this.
β’ Daily, ad-free ear-training warm-ups β two new every week.
β’ The Practice Room community β other musicians doing the same work beside you.
β’ Four bundled products: Music Composition Technique Builder (Composing Music Series, Vol. 2); Technique Builder Audio; Technique Builder Workbook (Vol. 5); Practice Dictations β One-Part.
This wonβt have you transcribing Bach chorales on its own β thatβs what Flawless Ear Training is for, the full guided path when youβre ready. The Practice Room gets you moving, and moving is the part youβve been stuck on.
Sixteen minutes a day, with company, and a teacher who knows your name. No commitment, cancel anytime β and only 350 seats.
Practice each lesson in order until you achieve 100%.
There will be 8 lessons in this section. These lessons can be binged, but make sure you're getting 100% before going on to the next one. I recommend no more than 1-hour because your time is better spent practicing your instrument once your warm-up and ear training is completed.
If you looked at this month's title and thought "wait β didn't we just do the perfect fifth?" β good. You're paying attention. Yes. It's the fifth again. And that's not a repeat; it's a promotion.
Month 1 was the introduction. Month 2 is the job. Last month, everything was new: the drone, the count-in, the mirror, the day-seven check-in, the fifth itself. You weren't really training yet β you were learning how to train. That's what first months are for: meeting the method, finding home, discovering what it feels like to match a pitch instead of merely getting near it. Foundation work. Necessary, and now done.
This month, nothing is new β and that changes everything. The method is familiar, so it stops costing you attention. And attention is the whole currency of this work. Every bit of focus you spent last month on "what comes next?" is now free to go where it belongs: the exact center of the pitch, the quality of your tone, whether that fifth is truly in tune or just close enough to fool you.
Same fifth, different question. Month 1 asked: can you find it? Month 2 asks: can you own it? This month the routine becomes exactly that β a routine. Daily. Same warm-up, same home pitch, same fifth, while the tempo climbs each week. The notes never change; the demand does. Faster tempo means less time to search for the pitch. You have to already know where it lives. That's the difference between recognizing the fifth and having it in your body.
Here's why this works, and why we don't just move on to the next interval: skills consolidate through spaced, structured repetition β same material, full attention, one thing changing at a time. The fifth is the spine of everything that comes later. Every interval you'll ever learn gets measured against home and the fifth, every chord you'll ever hear is built around it. A month of meeting it wasn't enough. A month of living with it is how it becomes furniture β something you stop reaching for because you know exactly where it is, even in the dark.
What to expect, honestly: around week two or three, this will feel familiar. Maybe too familiar. That's not a sign to skip ahead β that's the doorway. When the sequence stops surprising you, you can finally hear yourself in it. The warm-up never changes precisely so that when it sounds different, the thing that changed is you. Week one you'll land near the pitch. Week four, at double the tempo, you'll land in the middle of it β and you'll hear the difference, because nothing else moved.
So: the fifth, again. Every day. A little faster each week. Do the simple thing with a level of attention that makes it hard, and by the end of this month you won't be practicing the fifth anymore. You'll be practicing everything else against it β which is exactly the position you want to be in for the months ahead.
FAQ section
You've got questions. We've got answers.
About sixteen minutes a day. As the monthβs tempo builds, the routine itself gets quicker β but plan on sixteen.
No. This is ear training, not a voice course. You need to know where the note lives and go there β the voice is just how you prove your ear found it.
Itβs as hard as you make it. Advanced players go deeper by audiating different instruments, stacking exercises, and dropping the reference pitch. Simple material is where real refinement lives.
None. New warm-ups post Tuesdays and Fridays; you can cancel anytime. The only cap is on seats, not on you.