Revision 7T · Full Tutorial Edition · Updated 1 September 2026
PWR-149 · SELF GUIDED full tutorial
Follow one musical line through a two-part mixture and switch on cue
This lesson teaches listening to more than one musical line without pretending to hear everything at once. You will learn each isolated part, follow one target through the mixture, mark losses, re-enter from an anchor and switch lines on a cue.
What you will produceThe learner correctly identifies the active target line at eight of ten checkpoints and completes two planned line switches in a short two-part excerpt.
Full step-by-step individual tutorial · TLU-PWR-149
The learner correctly identifies the active target line at eight of ten checkpoints and completes two planned line switches in a short two-part excerpt.
Use one legal two-part excerpt with isolated stems, ten checkpoints and a comfortable listening level.
Identify each stem, follow one labelled line, mark every loss and re-entry, then complete one switch in each direction.
Report checkpoint and switch accuracy for this excerpt and support configuration only, not general orchestral listening or transcription.
Qualified help is required for
Hearing symptoms require audiology or medical review; formal music assessment and protected-material use require the appropriate teacher or rights route.
Two-part checkpoint accuracy does not establish memory, transcription, ensemble playing or unaided multi-part listening. No wider polyphonic listening claim follows.
Never do this from the page alone
Raise volume to force separation or continue through ringing or muffled hearing.
Claim a visual cue or isolated-stem result proves unaided listening.
Copy or publish protected or culturally restricted material without permission.
2 · Get ready
Gather what you need and check the starting conditions
What you need
a short two- or three-part musical excerpt with isolated stems.
Two isolated stems, the mixed recording and a timeline with ten checkpoints.
A comfortable speaker or headphones with a safe level and optional visual score or colour trace.
Before you start
Prepare a 20–40 second two-part musical excerpt with legal isolated stems and a written timeline
Before the first polyphonic listening attempt, write the exact result you will score: Source-identification accuracy and separation error across declared mixtures, levels and cue-on/off conditions.
Set playback so both parts are audible at a comfortable level and choose non-sensitive material you may use.
Pick one simple identifying feature for each line, such as instrument, contour or rhythm.
3 · The method
Follow these steps in order
Name the two lines
Listen to stem A and stem B separately. Give each a neutral label and mark its first entrance on the timeline.
Why: Distinct labels create recoverable auditory objects before the mixture.
Check: The learner identifies each stem correctly in random order.
Choose an anchor
For target A, select one recurring rhythm, contour or timbre cue that can be heard through the mixture.
Why: A specific anchor is easier to regain than the vague instruction “listen harder.”
Check: The anchor occurs at least twice and can be pointed out in the isolated stem.
Follow one line only
Play the mixture and trace target A with a finger, cursor or hum at quiet level. Ignore target B except to avoid confusing it with A.
Why: Selective attention is trained more clearly with one declared target.
Check: The trace follows A’s entrances and pauses rather than the louder line automatically.
Mark losses and re-entry
At each checkpoint, mark present, lost or confused. After a loss, wait for the chosen anchor and re-enter; do not rewind during the scored pass.
Why: A recovery rule turns attention lapses into observable events.
Check: Every loss has a later anchor-based re-entry or remains honestly unscored.
Verify with the stem
After the pass, replay only the missed checkpoint in target A’s stem, then in the mixture. Name the competing cue that captured attention.
Why: Stem verification identifies whether the error was target memory or mixture competition.
Check: Each repaired checkpoint names the target cue and competing line.
Switch on a marked cue
On a new pass, follow A until checkpoint five, then switch to B after one full beat. Repeat with the opposite switch.
Why: Planned switching tests control rather than accidental capture by loudness.
Check: Both switches occur at the cue and the new target is identified at the next checkpoint.
Remove one support
Repeat once without the colour trace or with slightly rebalanced stems, keeping level and checkpoints fixed.
Why: Removing one support tests whether the method survives a modest change.
Check: The record states which support was removed and whether accuracy held.
4 · Worked example
See the whole method used once
Scenario
A 30-second legal duet contains flute line A and cello line B, with ten time-stamped checkpoints and colour traces.
Walkthrough
The learner labels flute “rising three-note figure” and cello “long-low notes” from isolated stems.
They choose the flute’s rising figure as the re-entry anchor and follow it through the mix.
At checkpoint four they confuse a cello rise for flute, mark lost and re-enter when the true three-note figure returns.
Stem comparison reveals the cello was louder at the error point.
On one new pass they switch from flute to cello at checkpoint five and score nine of ten; on a second pass they reverse from cello to flute at the same cue and score eight of ten.
Result
Checkpoint accuracy, recovery and both planned switch directions are demonstrated for this excerpt with declared stems and cues; no claim of general orchestral listening follows.
5 · Right and wrong
Compare correct or safer execution with the common wrong version
Right and wrong comparison
Moment
Right / safer
Wrong / riskier
Why it matters
Name the two lines
Listen to stem A and stem B separately. Give each a neutral label and mark its first entrance on the timeline.
Start with the mixture without learning which line is which.
Distinct labels create recoverable auditory objects before the mixture.
Choose an anchor
For target A, select one recurring rhythm, contour or timbre cue that can be heard through the mixture.
Use “the melody” as an anchor when two melodies overlap.
A specific anchor is easier to regain than the vague instruction “listen harder.”
Follow one line only
Play the mixture and trace target A with a finger, cursor or hum at quiet level. Ignore target B except to avoid confusing it with A.
Try to report both lines at every instant.
Selective attention is trained more clearly with one declared target.
Mark losses and re-entry
At each checkpoint, mark present, lost or confused. After a loss, wait for the chosen anchor and re-enter; do not rewind during the scored pass.
Hide lost attention by rewinding during the scored pass.
A recovery rule turns attention lapses into observable events.
Verify with the stem
After the pass, replay only the missed checkpoint in target A’s stem, then in the mixture. Name the competing cue that captured attention.
Verify against the full mixture and never open the isolated stem.
Stem verification identifies whether the error was target memory or mixture competition.
6 · Common mistakes
Spot the error and apply the correction
Common mistakes and corrections
Mistake
Fix
Start with the mixture without learning which line is which.
Listen to stem A and stem B separately. Give each a neutral label and mark its first entrance on the timeline.
Use “the melody” as an anchor when two melodies overlap.
For target A, select one recurring rhythm, contour or timbre cue that can be heard through the mixture.
Try to report both lines at every instant.
Play the mixture and trace target A with a finger, cursor or hum at quiet level. Ignore target B except to avoid confusing it with A.
Hide lost attention by rewinding during the scored pass.
At each checkpoint, mark present, lost or confused. After a loss, wait for the chosen anchor and re-enter; do not rewind during the scored pass.
Verify against the full mixture and never open the isolated stem.
After the pass, replay only the missed checkpoint in target A’s stem, then in the mixture. Name the competing cue that captured attention.
7 · Practice
Turn the steps into a usable skill
First session
Load a legal 20–40 second two-part excerpt, both isolated stems and a ten-checkpoint timeline at a comfortable level, with an optional colour trace ready.
Hear each stem separately, give it a neutral musical label, mark its first entrance, then identify A and B correctly after their playback order is shuffled.
Follow one line only: Play mixture & trace target A with a finger, cursor or hum at quiet level. Ignore target B except to avoid confusing it with A.
Label the flute ‘rising three-note figure’ and cello ‘long low notes,’ then trace the flute in the mixture and use its next rising figure to re-enter after any loss.
Switch on a marked cue: On a new pass, follow A until checkpoint five, then switch to B after one full beat. Repeat with opposite switch.
On final passes, remove one colour or stem support, score the active line at all ten checkpoints, and complete one A-to-B plus one B-to-A switch on the marked beat.
Repeat plan
On the next session, use the same excerpt but remove the colour trace only after both shuffled stems are identified correctly. On a third session, remove one isolated-stem reminder and repeat the ten checkpoints plus both directed switches. Progress when at least eight checkpoints and both switches remain correct and the log names exactly which support was absent.
Progress when
Learner correctly identifies active target line at eight of ten checkpoints & completes two planned line switches in a short two-part excerpt.
Trace follows A’s entrances & pauses rather than louder line automatically.
Both switches occur at cue & new target is identified at next checkpoint.
Record states which support was removed & whether accuracy held.
Do not progress when
Stay at the current level until learner identifies each stem correctly in random order.
Do not make the task harder while this error remains: Start with mixture without learning which line is which.
Stop for ringing, muffled hearing, pain, headache or sensory overload & reduce level or switch to visual score study.
8 · Check the result
Measure what changed
Source-identification accuracy and separation error across declared mixtures, levels and cue-on/off conditions
How: For Polyphonic listening, measure Source-identification accuracy and separation error across declared mixtures, levels and cue-on/off conditions. Keep the polyphonic listening fixture stable. Target: The learner correctly identifies the active target line at eight of ten checkpoints and completes two planned line switches in a short two-part excerpt. Log polyphonic listening errors, prompts, burden and stops.
Good result: Trace follows A’s entrances & pauses rather than louder line automatically. Both switches occur at cue & new target is identified at next checkpoint. Record states which support was removed & whether accuracy held.
This does not prove: Two-part checkpoint accuracy does not establish memory, transcription, ensemble playing or unaided multi-part listening.
Self-check
Starting check — The learner identifies each stem correctly in random order.
Can you show this before continuing? The anchor occurs at least twice and can be pointed out in the isolated stem.
If you catch this mistake — Start with the mixture without learning which line is which. — use this correction: Listen to stem A and stem B separately. Give each a neutral label and mark its first entrance on the timeline.
What this result does not prove: Two-part checkpoint accuracy does not establish memory, transcription, ensemble playing or unaided multi-part listening.
9 · Stop, adapt or get help
Keep the safety boundary practical
Stop and get help
Stop for ringing, muffled hearing, pain, headache or sensory overload and reduce level or switch to visual score study.
Polyphonic listening does not progress until learner identifies each stem correctly in random order.
Do not add difficulty while this polyphonic listening error persists: Start with mixture without learning which line is which.
Stop for ringing, muffled hearing, pain, headache or sensory overload & reduce level or switch to visual score study.
Accessibility and adaptations
Keep usual aids for Polyphonic listening; record each support inside the polyphonic listening setup.
Accessible opening check for Polyphonic listening: The learner identifies each stem correctly in random order.
Use a visual score, colour trace, vibration, captions or isolated video of performers; report cue-assisted performance rather than hiding the support.
10 · Evidence and limits
Why these instructions are here
primary research
Research on visual cues and auditory stream segregation supports treating cue configuration as part of the measured listening task.
Progress is saved only in this browser on this device.
Step-by-step learner mode
Each activity includes its success check, a nearby accessible alternative and an “I’m stuck” correction path. Alternatives preserve the target where possible; when they change the task, Titan labels them as related rather than equivalent.
01
Name the two lines
Listen to stem A and stem B separately. Give each a neutral label and mark its first entrance on the timeline.
Why this step exists
Distinct labels create recoverable auditory objects before the mixture.
Success check
The learner identifies each stem correctly in random order.
I’m stuck on this step
Reset: Re-read this authored instruction — “Listen to stem A and stem B separately. Give each a neutral label and mark its first entrance on the timeline.” — and its success check, then attempt only this step.
Possible snag: Start with the mixture without learning which line is which.
Correction: Listen to stem A and stem B separately. Give each a neutral label and mark its first entrance on the timeline.
Stop / get help: Stop for ringing, muffled hearing, pain, headache or sensory overload and reduce level or switch to visual score study.
02
Choose an anchor
For target A, select one recurring rhythm, contour or timbre cue that can be heard through the mixture.
Why this step exists
A specific anchor is easier to regain than the vague instruction “listen harder.”
Success check
The anchor occurs at least twice and can be pointed out in the isolated stem.
I’m stuck on this step
Reset: Re-read this authored instruction — “For target A, select one recurring rhythm, contour or timbre cue that can be heard through the mixture.” — and its success check, then attempt only this step.
Possible snag: Use “the melody” as an anchor when two melodies overlap.
Correction: For target A, select one recurring rhythm, contour or timbre cue that can be heard through the mixture.
Stop / get help: Stop for ringing, muffled hearing, pain, headache or sensory overload and reduce level or switch to visual score study.
03
Follow one line only
Play the mixture and trace target A with a finger, cursor or hum at quiet level. Ignore target B except to avoid confusing it with A.
Why this step exists
Selective attention is trained more clearly with one declared target.
Success check
The trace follows A’s entrances and pauses rather than the louder line automatically.
I’m stuck on this step
Reset: Re-read this authored instruction — “Play the mixture and trace target A with a finger, cursor or hum at quiet level. Ignore target B except to avoid confusing it with A.” — and its success check, then attempt only this step.
Possible snag: Try to report both lines at every instant.
Correction: Play the mixture and trace target A with a finger, cursor or hum at quiet level. Ignore target B except to avoid confusing it with A.
Stop / get help: Stop for ringing, muffled hearing, pain, headache or sensory overload and reduce level or switch to visual score study.
04
Mark losses and re-entry
At each checkpoint, mark present, lost or confused. After a loss, wait for the chosen anchor and re-enter; do not rewind during the scored pass.
Why this step exists
A recovery rule turns attention lapses into observable events.
Success check
Every loss has a later anchor-based re-entry or remains honestly unscored.
I’m stuck on this step
Reset: Re-read this authored instruction — “At each checkpoint, mark present, lost or confused. After a loss, wait for the chosen anchor and re-enter; do not rewind during the scored pass.” — and its success check, then attempt only this step.
Possible snag: Hide lost attention by rewinding during the scored pass.
Correction: At each checkpoint, mark present, lost or confused. After a loss, wait for the chosen anchor and re-enter; do not rewind during the scored pass.
Stop / get help: Stop for ringing, muffled hearing, pain, headache or sensory overload and reduce level or switch to visual score study.
05
Verify with the stem
After the pass, replay only the missed checkpoint in target A’s stem, then in the mixture. Name the competing cue that captured attention.
Why this step exists
Stem verification identifies whether the error was target memory or mixture competition.
Success check
Each repaired checkpoint names the target cue and competing line.
I’m stuck on this step
Reset: Re-read this authored instruction — “After the pass, replay only the missed checkpoint in target A’s stem, then in the mixture. Name the competing cue that captured attention.” — and its success check, then attempt only this step.
Possible snag: Verify against the full mixture and never open the isolated stem.
Correction: After the pass, replay only the missed checkpoint in target A’s stem, then in the mixture. Name the competing cue that captured attention.
Stop / get help: Stop for ringing, muffled hearing, pain, headache or sensory overload and reduce level or switch to visual score study.
06
Switch on a marked cue
On a new pass, follow A until checkpoint five, then switch to B after one full beat. Repeat with the opposite switch.
Why this step exists
Planned switching tests control rather than accidental capture by loudness.
Success check
Both switches occur at the cue and the new target is identified at the next checkpoint.
I’m stuck on this step
Reset: Re-read this authored instruction — “On a new pass, follow A until checkpoint five, then switch to B after one full beat. Repeat with the opposite switch.” — and its success check, then attempt only this step.
Possible snag: The result from “On a new pass, follow A until checkpoint five, then switch to B after one full beat. Repeat with the opposite switch.” does not yet meet this declared check: Both switches occur at the cue and the new target is identified at the next checkpoint.
Correction: Return to the start of “Switch on a marked cue”, reduce complexity or pace, and repeat only the part needed to satisfy: “Both switches occur at the cue and the new target is identified at the next checkpoint.”
Stop / get help: Stop for ringing, muffled hearing, pain, headache or sensory overload and reduce level or switch to visual score study.
07
Remove one support
Repeat once without the colour trace or with slightly rebalanced stems, keeping level and checkpoints fixed.
Why this step exists
Removing one support tests whether the method survives a modest change.
Success check
The record states which support was removed and whether accuracy held.
I’m stuck on this step
Reset: Re-read this authored instruction — “Repeat once without the colour trace or with slightly rebalanced stems, keeping level and checkpoints fixed.” — and its success check, then attempt only this step.
Possible snag: The result from “Repeat once without the colour trace or with slightly rebalanced stems, keeping level and checkpoints fixed.” does not yet meet this declared check: The record states which support was removed and whether accuracy held.
Correction: Return to the start of “Remove one support”, reduce complexity or pace, and repeat only the part needed to satisfy: “The record states which support was removed and whether accuracy held.”
Stop / get help: Stop for ringing, muffled hearing, pain, headache or sensory overload and reduce level or switch to visual score study.
Correct versus incorrect execution
These accessible process diagrams are built from the tutorial’s own right/wrong teaching. They are not anatomical illustrations and do not add technique beyond the canonical tutorial.
Name the two lines — Distinct labels create recoverable auditory objects before the mixture.
Correct / safer
Listen to stem A and stem B separately. Give each a neutral label and mark its first entrance on the timeline.
Wrong / riskier
Start with the mixture without learning which line is which.
Choose an anchor — A specific anchor is easier to regain than the vague instruction “listen harder.”
Correct / safer
For target A, select one recurring rhythm, contour or timbre cue that can be heard through the mixture.
Wrong / riskier
Use “the melody” as an anchor when two melodies overlap.
Follow one line only — Selective attention is trained more clearly with one declared target.
Correct / safer
Play the mixture and trace target A with a finger, cursor or hum at quiet level. Ignore target B except to avoid confusing it with A.
Wrong / riskier
Try to report both lines at every instant.
Mark losses and re-entry — A recovery rule turns attention lapses into observable events.
Correct / safer
At each checkpoint, mark present, lost or confused. After a loss, wait for the chosen anchor and re-enter; do not rewind during the scored pass.
Wrong / riskier
Hide lost attention by rewinding during the scored pass.
Verify with the stem — Stem verification identifies whether the error was target memory or mixture competition.
Correct / safer
After the pass, replay only the missed checkpoint in target A’s stem, then in the mixture. Name the competing cue that captured attention.
Wrong / riskier
Verify against the full mixture and never open the isolated stem.
Method-structure checklist
10 of 10 structural checks present
✓ Ordered, Power-specific instructions — present
✓ Every activity has a success check — present
✓ Materials or supplied records are declared — present
✓ Measurement or assessment rule is present — present
✓ Tutorial-specific troubleshooting is present — present
✓ Stopping or escalation boundary is present — present
✓ Every activity has an adjacent alternative — present
✓ Correct-versus-incorrect comparison is present — present
✓ Evidence context is bound to the Power record — present
✓ Planning metadata is present — present
The method-readiness band and presence checklist assess tutorial presentation and are separate from evidence quality for the underlying Power. They are automated editorial aids, not human approval.
Manual editorial sign-off: Pending. This tutorial must not display a human-approved state until an identified editor signs the exact content hash.