## 1 Introduction
### Study Design  
For this experiment, we were interested in examining how features of a pitch layout affected performance accuracy in the learning of a new motor pattern, how this skill was retained at test immediately after training, and performance accuracy in transfer of this skill to a new, untrained task. Musically experienced participants played three out of the four layouts under consideration (see Figure 1): all 24 participants played both \(AS^{\prime}\) and \(AS\), with 12 participants each playing either \(A^{\prime}S\) or \(A^{\prime}S^{\prime}\).  
The independent variables were  
* \(Adjacency\in\{0,1\}\), where 0 is the code for a layout with non-adjacent major seconds (\(A^{\prime}S^{\prime}\) or \(A^{\prime}S\)), and 1 is the code for a layout with adjacent major seconds (\(AS^{\prime}\) or \(AS\)).
* \(Shear\in\{0,1\}\), where 0 is the code for an unsheared layout (\(A^{\prime}S^{\prime}\) or \(AS^{\prime}\)), and 1 is the code for a sheared layout (\(A^{\prime}S\) or \(AS\)).
* \(LayoutNo\in\{0,1,2\}\), where 0 is the code for the first layout played by a participant, 1 is the code for the second layout they played, and 2 is the code for the third and final layout they played.
* \(PerfNo\in\{0,1,2,3\}\), where 0 is the code for their first performance of a given layout, 1 is the code for their second performance of a given layout, 2 is the code for their third performance of a given layout, 3 is the code for their fourth performance of a given layout. Note that participants gave three performances for the training, two performances for the immediate retention tasks, and four performances for the transfer task.  
Each participant played the layouts in one of four different sequences, and each such sequence was played by 6 participants:  
* \(AS^{\prime}\) then \(A^{\prime}S^{\prime}\) then \(AS\)
* \(AS^{\prime}\) then \(A^{\prime}S\) then \(AS\)
* \(AS\) then \(A^{\prime}S^{\prime}\) then \(AS^{\prime}\).  
This means that the nonadjacent seconds layouts (\(A^{\prime}S^{\prime}\) and \(A^{\prime}S\)) were always presented second, and that participants who started with the unsheared adjacent layout (\(AS^{\prime}\)) finished with the sheared adjacent layout (\(AS\)), and vice versa.  
In each such layout, participants received an equivalent training and testing program: first for the C major scale, then for arpeggios of all triads in C major. The scale task was used to support the learning of the spatial patterns of seconds in the diatonic scale; the arpeggios to support the learning of the spatial patterns of larger intervals such as thirds and fourths in the diatonic scale. Immediate retention (performance without any audiovisual training) was tested after each task. The transfer task required participants to perform a well-known melody (_Frere Jacques_) for which they had received no prior training. This melody contains numerous major and minor seconds but also larger intervals. Participants were given 20 s to practice before their performances were recorded. These procedures are further detailed in Sections 2.2-2.4.  
Participants' preferences were elicited in a semi-structured interview, a detailed analysis of which is available in [1]. The current paper will fully describe the results of the performances of training and testing materials (both retention and transfer tasks), assessed for their inaccuracy in terms of number of incorrect notes as well as the timing of the performed notes in comparison to either the audiovisual sequence (training) or the metronome beat (retention and transfer).