Beruflich Dokumente
Kultur Dokumente
As you gain experience and become better and better at this, you will
be surprised at the new things you will hear musically and aurally!
You will also find yourself hearing recordings in a totally new light.
Constantly evolving and improving recording technologies allow us
to achieve almost flat frequency response, noiseless and distortion
free audio signals and superb time and spatial resolution – because
listener’s ears are becoming more discriminating and demanding.
Do do re re mi mi fa fa so so fa fa mi mi do ti do ti do!
Some people can hear a note and say ‘that’s Eb!’ and others are even
more attuned and can say ‘it’s an Eb with the treble boosted by 3dB
at 2.5KHz!’
Kettle story
THEORY
The tone upon which the chord is built is called the root
followed by the 3rd, 5th, 7th, 9th, 11th and 13th
A chord is named from the degree of the scale, which is its root
Roman numerals are used as symbols of chords
The II, III and VI chords consist of a minor 3rd and a perfect 5th
from the root.
These chords are called minor chords.
The VII chord consists of a minor 3rd and a diminished 5th from
the root.
Rhythmic Exercises
I have colleagues that have the ability to do this and after practising
this, I would like to share my thoughts on how this can be done.
1. Intervallic Training
One of the first lessons that piano players learn is the ability to
distinguish intervals. Piano players that learn from a traditional
teacher will play intervals or 2nds, 3rds, 4ths, etc. (Playing the root
note and its 2nd, the root note and its 3rd, the root note and its 4th).
This concept is difficult to teach on the guitar because it is tuned in
4ths and on other instruments there are fingering, positioning or
blowing issues, but this technique is necessary to easily hear and
distinguish the chords that are being played.
When you think of playing the chord scale diatonically, the shortcut
of learning to distinguish intervals will make much more sense. For
example, in the key of C, playing the chord scale diatonically will give
you C, Dm, Em, F, G, Am, B dim, and C following the Major, Minor,
Minor, Major, Major, Minor, Diminished, Octave [MmmMMmDO].
The difference between the C root in C and the E root in Em will
always be a 3rd.
The difference of a 3rd, or a 4th, or a 5th is something that is very
easy to distinguish. Being able to pick these intervals out will help
you figure out how to tell which chords are being played on most
songs that occur on the radio.
How does adding the 2nd or 9th effect the chord? What effect does
adding a 6th or a 7th have on the chord?
For most popular music you rarely need to worry about anything
other than the 2nd/9th, 6th or 7th extension but for jazz, you need to
be able to recognise almost all of them, so it would be in your best
interests to be able to distinguish these.
Unless there are any key changes, it turns out to be very easy to find
out what key a song is in.
Trick #1 - See if you can find any 2 majors in the progression that are
a whole step apart. If you remember the pattern (MmmMMmDO)
the only instance where you will have two majors in succession are
for the IV and the V. By counting backwards from the IV you will be
able to determine what key you are in, which makes picking out the
minors and other chords very easy.
So, in the beginning you can call out the changes in, say, the key of C.
Then when you have your instrument, transpose it to the proper key.
With time, you will be able to distinguish an E from an A and really
be able to call out the actual keys as they are being played.
5. Caveats
Learning by Ear
Start with a simple song - Mary Had a Little Lamb or maybe the
Nepali National Song
RELATIVE PITCH DEVELOPMENT
Start out easy. This is the best way to ‘culture’ your ears. Start with
the simple things and work your way up gradually in order to achieve
solid, established relative pitch.
If you already have good ‘ears’ they can be made even better!
Don’t use any aids to visualise the intervals! Keys, gtr etc
All visualisation should be done in your own mind!
Practise, Practise, Practise. The words spin around your head at all
times of the day. How much? How often? Who knows!
So you say you have no energy on the day? You don't have a spare 14
hours to practice today? The sight of your instrument is making you
sick? You just don't feel like it! Now, now, now,don't fret and don't
despair.
To put it simply, don't force it. You can miss a couple of days of
practising without the guilt, the heartache, and the stomach-gripping
apprehension.
Attempt to enhance your practising - maybe not the physical side,
but we'll get those ears in line and in shape. I'm going to touch on the
‘mental’ or the aural side of practicing.
"Open your ears and take a couple of days off from the
rigors of physical practicing."
I had a student and just the other day when our session was about to
begin, he explained how he had a very bad week: term papers,
illness, and a car accident. Murphy's Law was in full effect!
After sitting down and alleviating any problems with his past lesson,
I told him to pack up. For the next hour we kicked back and listened
to some tunes, but we listened constructively. We let our ears do
the walking instead of our fingers. I suggested, for starters, some
blues. So I grabbed some CDs like John Coltrane's "Plays the Blues",
Modern Jazz Quartet's "Blues on Bach", Herbie Hancock's
"Cantaloupe Island", which is a blues with a bridge, and then some
down home traditional blues a la Big Bill Broonzy.
Lesson 1
Last week, we covered some very basic ear training techniques
involving basic RHYTHM. This week we’re going to move on to
pitch.
Also, some good music tracks with cool little bits that aren’t
immediately apparent e.g.The Doobies ‘Listen to the Music’ piano
part – it’s all one note!
Eg. 1
RELATIVE PITCH is really about how our OWN mind works and
how it interprets the sounds that it hears.
Ear Training is the one topic wher ALL musicians can get together
because whether we’re playing ROCK,. CLASSICAL, JAZZ, HIP
HOP, COUNTRY OR DOHORI…
We all must have the ability…our EARS must have the ability to
UNLOCK the sound that it hears.
When you can do this, the ear can really HEAR what its listening to!
Two people can listen to the same piece of music , the same song, the
same symphony, but they will hear it completely differently!
One person may hear it very deeply…their ears UNLOCK all the
chords and they UNDERSTAND what’s going on.
Everything is in FOCUS!
The other ear may still ENJOY the music, but if it doesn’t penetrate
deeply into the music, then its APPRECIATION is more LIMITED!
If your are a performer, you can only perform as well as your ear can
hear…
But if you yourself are an artist, or if you study art, you can
understand the different BRUSH STROKES, TEXTURES,
CHIAROSCURO, HOW THE ARTIST MIXED THEIR COLOURS…
If you know and UNDERSTAND all these things, then you can
appreciate the art even better.
Lesson 2
The kind that recognises the value of ear training and they go after it
and they IMPROVE their ear and as a result
improve everything they’re doing
and there’s also the kind that really don’t understand the need to
improve one’s own self!
The ear has MANY levels of awareness…it’s not just one level!
Be aware that the intervals may change, but the ‘colours’, the
chromatic scale…do not!
If you are listening to music and you don’t have relative pitch,
You hear all these chords…PLAY>>> …going on everywhere…
But you don’t REALLY know what’s going on.
It’s like a blurred effect of what’s really going on.
You have a constant head start over anyone who has to play them
first in order to find out their sounds.
If you wanna play by ear, you already know what the intervals and
notes sound like.
Singing becomes more precise when you can ‘compute’ any pitch or
any interval from memory, at any time.
IN SUMMARY,
RELATIVE PITCH IS THE MIND’S UNDERSTANDING OF WHAT
THE EAR IS HEARING!
Lesson 3
Reiiterate summary above
Play Eb – C
And in addition, if I tell you that this is an Eb, then you have to be
able to tell me, that this top one is … … is a C
When you can hear the colours of the tones its not an intellectual
experience
When these things are together the ear hears at its most powerful!
Lesson 4
If you don’t have relative pitch and you have perfect pitch
It’s like having a TV set but it’s not in focus!
You can see the colours but the picture isn’t clear!
With RP you’re listening to the music and all those chords and
melodies and how they relate is clear
Magic trick!!!
If you put that B with certain tones , it gives it energy and dynamic…
If you put the B with other tones, it makes it stable!