Using software to learn by ear is not for everyone. If it appeals to you, keep reading.
The link below is the best demo of Transcribe! (from Seventh String) I’ve seen because it shows how to use markers (starting at 9:40 in the video). One thing I wish the video had covered is automatic beat markers. You can edit a measure or section marker to divide each of the measures that follow into equal beats per measure (usually four). The ability to mark an entire song with section markers, measure markers, and automatic beat markers helps me to understand the structure of a song and identify measures with an unusual number of beats. Labeling the section markers as verse, chorus, bridge, solo, etc. helps me understand the song structure. Measure markers are an important part of what separates Transcribe! from other “loop and slow down” software. Knowing where beats start and stop can help me understand rhythms.
Here’s the process I go through in case it helps anyone.
Start with an MP3 or wav file. Usually not from Apple because they make it impossible to use their music files with third-party software. I usually have the mp3 file from CDs that I own. If not, I buy the MP3 or create one in Audacity.
Listen to a few bars to determine where the first beat of each measure is. Often I look for the drum’s accentuation of the backbeat (beats 2 and 4). Understanding where the "one" is might be the most important part of this process.
Next, I go back to the beginning and mark each measure with an "m." I mark the beginning of each section with an "s." I edit the first measure to automatically divide each measure into beats. The graphic ribbon shows peaks that usually correspond with the beats. Adjusting the placement of the measure or section markers automatically adjusts the placement of the beat markers.
Next, I label each section marker as appropriate (verse, chorus, bridge, solo, etc.).
Next, I check the pitch of the recording by picking a particularly prominent note (not necessarily played by the bass) and checking the pitch against the A440 tuning of the keyboard on the screen. Comparing the playback to a drone note can help too. Once I have adjusted the pitch of the recording with the cents slider, I change the key if necessary with the half-step slider. It's hard enough to hear some notes even when the recording is in tune. I don't need to handicap myself.
Next, I identify the chords being played. Most chords are obvious with a little practice. I use a cheap electronic piano to arpeggiate the chords and identify any tricky ones (e.g., a slash chord where the bass is not playing the root). Identifying the chord often requires listening to the chordal instruments (e.g., guitar and piano) and the melody. Transcribe! features a keyboard with highlighted keys that are being played in the current loop. The problem is that it sometimes highlights some notes that I don’t hear and misses other notes that I do hear. Transcribe! also provides guesses of the chords being played, but that is also hit or miss.
Then I’m ready to transcribe. This might seem like lots of preparation so far, but I find that it saves me time in the long run. The information I need to start is the key signature, tempo in bpm, time signature, and pickup beats (if any). I use Sibelius, but if I had to do it over again, I would probably use Musescore.
I usually loop one measure at a time, and the measure markers make it easy to identify the beginning and end of each measure. For complicated lines, I sometimes highlight a beat at a time. When the pitch of a note is not obvious, I highlight the single note. Many sections repeat with minor variations. Copying and pasting saves time.
Raising the playback by an octave can help me hear the bass line but can also create confusion over which octave of a note is being played. Sometimes adjusting the eq helps. It just takes practice to be able to hear some bass lines.
The playback can help identify mistakes, such as missed accidentals.
Some transcribing tips I’ve learned include the following, and not everyone agrees with these.
The key signature does not necessarily minimize accidentals. Use the tonal focus of the song and its related third to determine major or minor. For example, blues in C has no sharps or flats even though the most common chord, C7, has a Bb. This is consistent with notation software which has sharp keys, flat keys, and major or minor.
Try to keep the structure consistent. For example, each verse starts at the left margin. Similar groups of measures should appear the same way each time. End each section with a double vertical bar.
Notate the tempo and feel (e.g., swing 8ths).
Where a rest occurs within a beat, use the staccato symbol instead of a rest to simply the appearance.
Make each beat obvious. When a note crosses a beat (especially the middle of a measure) tie two shorter notes as appropriate.
For odd time signatures, beam the notes to be consistent with the phrasing.
For enharmonic equivalents, make sure that chord tones are consistent with the chord. For example, a Gb7 chord is Gb, Bb, Db and Fb. Same with scale tones. The 11th of Gb7 chord is a Cb. For passing tones, a sharp implies ascending movement. A flat implies descending movement.
The link below is the best demo of Transcribe! (from Seventh String) I’ve seen because it shows how to use markers (starting at 9:40 in the video). One thing I wish the video had covered is automatic beat markers. You can edit a measure or section marker to divide each of the measures that follow into equal beats per measure (usually four). The ability to mark an entire song with section markers, measure markers, and automatic beat markers helps me to understand the structure of a song and identify measures with an unusual number of beats. Labeling the section markers as verse, chorus, bridge, solo, etc. helps me understand the song structure. Measure markers are an important part of what separates Transcribe! from other “loop and slow down” software. Knowing where beats start and stop can help me understand rhythms.
Here’s the process I go through in case it helps anyone.
Start with an MP3 or wav file. Usually not from Apple because they make it impossible to use their music files with third-party software. I usually have the mp3 file from CDs that I own. If not, I buy the MP3 or create one in Audacity.
Listen to a few bars to determine where the first beat of each measure is. Often I look for the drum’s accentuation of the backbeat (beats 2 and 4). Understanding where the "one" is might be the most important part of this process.
Next, I go back to the beginning and mark each measure with an "m." I mark the beginning of each section with an "s." I edit the first measure to automatically divide each measure into beats. The graphic ribbon shows peaks that usually correspond with the beats. Adjusting the placement of the measure or section markers automatically adjusts the placement of the beat markers.
Next, I label each section marker as appropriate (verse, chorus, bridge, solo, etc.).
Next, I check the pitch of the recording by picking a particularly prominent note (not necessarily played by the bass) and checking the pitch against the A440 tuning of the keyboard on the screen. Comparing the playback to a drone note can help too. Once I have adjusted the pitch of the recording with the cents slider, I change the key if necessary with the half-step slider. It's hard enough to hear some notes even when the recording is in tune. I don't need to handicap myself.
Next, I identify the chords being played. Most chords are obvious with a little practice. I use a cheap electronic piano to arpeggiate the chords and identify any tricky ones (e.g., a slash chord where the bass is not playing the root). Identifying the chord often requires listening to the chordal instruments (e.g., guitar and piano) and the melody. Transcribe! features a keyboard with highlighted keys that are being played in the current loop. The problem is that it sometimes highlights some notes that I don’t hear and misses other notes that I do hear. Transcribe! also provides guesses of the chords being played, but that is also hit or miss.
Then I’m ready to transcribe. This might seem like lots of preparation so far, but I find that it saves me time in the long run. The information I need to start is the key signature, tempo in bpm, time signature, and pickup beats (if any). I use Sibelius, but if I had to do it over again, I would probably use Musescore.
I usually loop one measure at a time, and the measure markers make it easy to identify the beginning and end of each measure. For complicated lines, I sometimes highlight a beat at a time. When the pitch of a note is not obvious, I highlight the single note. Many sections repeat with minor variations. Copying and pasting saves time.
Raising the playback by an octave can help me hear the bass line but can also create confusion over which octave of a note is being played. Sometimes adjusting the eq helps. It just takes practice to be able to hear some bass lines.
The playback can help identify mistakes, such as missed accidentals.
Some transcribing tips I’ve learned include the following, and not everyone agrees with these.
The key signature does not necessarily minimize accidentals. Use the tonal focus of the song and its related third to determine major or minor. For example, blues in C has no sharps or flats even though the most common chord, C7, has a Bb. This is consistent with notation software which has sharp keys, flat keys, and major or minor.
Try to keep the structure consistent. For example, each verse starts at the left margin. Similar groups of measures should appear the same way each time. End each section with a double vertical bar.
Notate the tempo and feel (e.g., swing 8ths).
Where a rest occurs within a beat, use the staccato symbol instead of a rest to simply the appearance.
Make each beat obvious. When a note crosses a beat (especially the middle of a measure) tie two shorter notes as appropriate.
For odd time signatures, beam the notes to be consistent with the phrasing.
For enharmonic equivalents, make sure that chord tones are consistent with the chord. For example, a Gb7 chord is Gb, Bb, Db and Fb. Same with scale tones. The 11th of Gb7 chord is a Cb. For passing tones, a sharp implies ascending movement. A flat implies descending movement.
