THE PRACTICE ROOM: DAILY EAR-TRAINING WARM-UPS
A small, capped community of musicians doing the same foundational warm-ups every day. One new warm-up a week. Simple on purpose, and that's exactly why it works.
$14/Month – Cancel Anytime
Current rate: $14/mo, locked for life. Price rises to $19 at 100 members.
THE PART YOU’RE 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 you’re coming along, not an app.
Sixteen minutes. A tonic drone to tune your ear to “home,” a daily routine built around one interval at a time, mirror exercises, and interval and chord work, all anchored to a pitch you return to every single session.
One new warm-up a week, four a month, each one built to be practiced daily rather than watched once. A tonic drone, a short pattern, and about sixteen minutes.
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• A tonic drone: so every note you make is measured against home.
• The Daily Routine: long-tone stability, the interval of the month, scales, and triads.
• Mirror Exercises: the same interval drilled by ear and by number.
• Interval & chord work: sing it, hear it, identify it.
This audio is from Day 4. 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. It’s why every great player still does long tones, scales, and plain intervals. And it’s 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. Researchers call it the Levitin effect. I’ve watched whole classes that couldn’t find a C in August land on it by December, some on command. It’s not perfect pitch, and I won’t promise it’ll happen for you. Don’t 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 you’re already building, I’d argue that’s even more useful.
I’m a pedagogue first, a different gift than performing. My north star is Nadia Boulanger, who trained some of the last century’s most important composers and set aside her own composing because she knew her real strength was developing other people’s talent. That’s the tradition I teach from. “Those who can’t, teach” was meant as an insult. But done well, the teacher is the foundation the doers are built on. I’d rather be the ear that helps you find yours.
The Practice Room is capped at 350 members, 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 you’d rather stay anonymous, I’ll know who you are and how you’re progressing.
As the room fills, the price steps up for new members:
$14 until 100, $19 to 200, $25 to 300, and $29 for the final fifty seats.
The earlier you join, the cheaper your rate; and whatever you join at is yours for as long as you stay. Prices only ever rise for the people who wait.
This is for you if:
• You know daily ear work matters, but the habit won’t stick on your own.
• You want real foundations: intervals, intonation, a steady inner pitch. Not flashy shortcuts.
• You’d rather train alongside other people, with a teacher who actually notices you.
It’s probably not for you if:
• You want a gamified app with badges and no human contact.
• You’re after advanced transcription right now. That’s Flawless Ear Training, not this.
• Daily, ad-free ear-training warm-ups, one new every week.
• The Practice Room community, other musicians doing the same work beside you.
• Four bundled products: Music Composition Technique Builder (Composing Music Series, Vol. 2); Technique Builder Audio; Technique Builder Workbook (Vol. 5); Practice Dictations: One-Part.
This won’t have you transcribing Bach chorales on its own. That’s what Flawless Ear Training is for, the full guided path when you’re ready. The Practice Room gets you moving, and moving is the part you’ve been stuck on.
That's the current rate, and it's locked for life if you're one of the first 100.
Sixteen minutes a day, with company, and a teacher who knows your name. No commitment, cancel anytime, and only 350 seats.
FAQ section
You've got questions. We've got answers.
About sixteen minutes a day. As the month’s tempo builds, the routine itself gets quicker, but plan on sixteen.
No. This is ear training, not a voice course. You need to know where the note lives and go there. The voice is just how you prove your ear found it.
It’s 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.
For new members, yes. At 100, 200, and 300 members. Never for existing members. Your rate is frozen the day you join; the only way to lose it is to leave.
Important: removing your credit card does not cancel a subscription. The billing continues either way. To actually cancel:
Log in at uremusic.com and open ★ My Courses in the menu.
Click on the subscription product, for example Practice Room: Daily Warm-Ups.
Choose Cancel subscription and confirm.
You keep full access through the end of the period you already paid for, and nothing bills after that. The product disappears from your list once the cancellation takes effect, so you can check it worked.
If you get stuck at any point, email kevin@uremusic.com and I'll cancel it for you the same business day (in most cases) and confirm in writing. No questions, no hoops. If a payment goes through and you emailed before the deadline, I'll refund your last month.
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, didn't we just do the perfect fifth?" 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. 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, 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: 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: 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, 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. 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, 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, which is exactly the position you want to be in for the months ahead.