Playing by ear

Many musicians like to define themselves in specific ways, often proudly claiming that they “play by ear.” While this phrase is commonly used, I’ve noticed it can sometimes be a defensive way of saying, “I don’t read music.” But it’s important to recognize that all musicians—whether they read music or not—must use their ears. Music is, after all, an aural art form.

The idea that “playing by ear” is somehow the opposite of reading music is misleading. If you’re not using your ears when you play, then you’re simply not engaging fully with the music. That said, some people certainly develop a more acute awareness of pitch, tone, and other subtle musical elements.

Musicians with perfect pitch (or absolute pitch) have the rare ability to identify specific notes and frequencies without any reference. This skill is thought to be most easily developed in early childhood, although some claim it can be trained at any age with the right method, such as the “Perfect Pitch Training” course by David Lucas Burge.

More common and arguably more practical is relative pitch, which involves identifying intervals, chord qualities, and scale degrees by comparing them to a reference note. Many musicians with perfect pitch will even say that their relative pitch skills are more useful in real musical contexts.

When someone says they “play by ear,” they’re usually describing a method of learning through imitation and trial and error, rather than through formal training or notation. This is a valid and often effective way to learn, especially when it aligns with someone’s musical goals. For some, reading standard notation or understanding music theory may not be necessary to enjoy music or improve as a player.

At the end of the day, being a musician isn’t about fitting into one category or another. Whether you read music, play by ear, or do both, what matters most is your ability to express and connect through sound.

We’d love to hear your thoughts—feel free to share in the comments!

By Henry Bahrou – Guitarist, Music Theorist, Music Academy Director