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Atm, I try to learn to play a chord when hearing it. Using my devilish web app again.
Not functional and in context but random in any key. Dom7s were easy but the m7b5 chord took about 2 months to become fairly reliable.
Now, alt dominants, b5 #5 b9 #9.... I was 2 weeks in with very little success and then got covid.
Anyway - I think learning to hear the chords in good context is the way to go for sure. Maybe the only sensible way.
But the title of the thread is "how to hear chords", wanted to chime in and say that there is the stupid hard way also Doable. But so freaking hard.
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10-15-2022 02:02 PM
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Chords tend to occur in a context and they are generally easier to hear that way.
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Originally Posted by Christian Miller
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Originally Posted by Jimmy Smith
The process of learning to play
by ear means all of the chords
will occur within songs' context
So this is more like in the song
I could have been exploding in space
Different orbits for my bones @2:30
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My mind is blown every day.
When I was younger, I learned about the lydian dominant chord from John Scofield. I'd heard about it of course but he played it for me one day and showed it within a context, how the very scale I'd studied so diligently , when he played it was EVERYTHING I loved about his playing that I couldn't figure out. He demonstrated it in a way that made it simple and relevant at the same time. I was awestruck.
He then said "It's simple. But when you don't really know it, everybody thinks you're a genius."
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Originally Posted by Jimmy blue note
It would be after about 15 years of developing and playing this thing that I would discover that this sound was called the altered scale, but every attempt at grasping explanations of how to form it and apply it seemed awkward and confused. It took a while until I figured out that what I had "invented" was the Lydian Dominant.
Everyone else seemed to have acquired the altered scale conceptually as the seventh mode of the melodic minor, whereas I had found it by the way it sounds. The only difference is the assignment of the tonic, but that is a big difference. For example in a two-five-one, if the usual altered scale's tonic is reassigned to the root of the tri-tone sub chord (a very natural harmonic perspective), the thing is now Lydian. Dominant, and it was just incidental to me that this could be conceived as the fourth mode of the melodic minor.
Sometimes slow motion mind blowing is good, too.
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"Everyone else seemed to have acquired the altered scale conceptually as the seventh mode of the melodic minor, whereas I had found it by the way it sounds." Pauln
Hi, P,
Music is culturally based and what one would expect to hear being born in India, China, or Western Europe is markedly different than music in Tahiti. It is the subliminal acceptance/understanding/absorption of your native music that develops as one gets older and certainly when one studies a musical instrument within that cultural context. That's the simple answer but, of course, this type of discovery for you would be much more multi-faceted since one's personality is also an integral part.
Marinero.
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Originally Posted by pauln
You started with ownership. We all want that and it can't be taught. High five!
Michael Brecker had an awesome command of harmony yet he never knew scales or modal harmony for their names. When he heard what it was you were referring to, well then he could bring out sounds you never imagined. Because owning the sound was his thing.
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Originally Posted by Jimmy blue note
Brecker studied clarinet at 6, switched to Sax in Jr. High and studied Music at Berklee and Indian University. He never knew scales for their names??? And, they gave him an honorary Doctorate at Berklee??
Marinero
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Originally Posted by Jimmy blue note
You get the JGF Gobbledygook Award of the month. Divine inspiration???? Ya, right.
Marinero
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Originally Posted by MarineroOriginally Posted by Marinero
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Originally Posted by Marinero
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Ummmmm….the “Altered scale” is the Melodic Minor from the 7th degree. No b5, no altered.
RIP Nick Gravenites
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