I'm going to correct something I say in my own two courses.
What I call audiation in Flawless is recall, and I use the word anyway.
Edwin Gordon coined audiation in 1975. It has a specific meaning: hearing sound in your mind that isn't coming from outside of you. Nothing in the room is producing it. Nothing you remember is producing it. It's generated internally.
Here's what I actually do in Flawless. I play a C. I leave silence. I tell you to audiate it.
That's recall. You heard the note two seconds ago and you're holding on to it, and I know that.
Recall isn't audiation. Recall is a road to audiation, and there's no other road I know of that works.
Before you can generate a pitch out of nothing, you have to be able to hold one. Most people can't do that on day one.
It isn't pure recall even at the start, either. When you hold that C you're not holding an abstract pitch. You're holding a piano, the timbre, the room. Your ear is doing something constructive rather than replaying a recording.
This is also where my two courses divide. Composing Hour is audiation, generating sound from the inside, which is what composers do. Flawless uses audiation principles to build recognition and internal hearing first, because you can't compose with an ear that can't hold a note for four seconds.
Some people don't get internal sound at all. The mind's ear is silent. Anauralia is a name for it, and I'm not the expert to speak on it in depth. What I can say is that sound and relationship are two different things, and from what I understand, people who don't get internal sound still get relationship. The map is real even without the sound.
Precision about what you're training is the difference between progress and four wasted months. If a program can't tell you whether it's building recognition, recall or audiation, it probably doesn't know either.
The first week of Flawless Ear Training is free. Seven days, one audio lesson a day, thirty minutes or less.
https://www.uremusic.com/flawless-free-trial
Chapters
0:00 Correcting Something I Say In My Own Courses
0:07 What Gordon Meant By Audiation
0:25 What I Actually Do In Flawless Is Recall
0:45 Why I Use The Word Anyway
1:32 Comparison With Nothing Playing
2:12 Where My Two Courses Divide
2:41 When The Mind's Ear Is Silent
3:52 Why Precision Matters Here
