how to play by ear and still be aware of harmony?

**mooncef** · 08-16-2016, 07:03 AM

I've heard Raney say , the older you get the more you play by ear ! Honestlt i'm still struggling to find the sweet between playing by ear phrases and still be aware of my positios and grips , so how do you go about it ?
i've also heard julian not hearing what he plays beforehand ,as he like the discovery of new things happening unplanned , this playing by ear seem to have no academic way of teaching it , and it's kind of a let go to tell an intermediate or beginner "play by ear and feel music " !

**pingu** · 08-16-2016, 07:49 AM

First
I slow right down !

Hear a line in your head
Sing it out
Find and play it on you guitar

Rinse and repeat .....
Works

**Drumbler** · 08-16-2016, 07:50 AM

There was some guy who used to post here and on another forum who was attempting to play jazz totally by ear. This guy did not know a thing about jazz. Nothing. He was a blues/rock player. He would try to improvise over a tune totally by ear without any idea what he was doing. He was terrible. He had no clue.

It's not just playing by ear out of the blue. You need to have some basics down to start with. Then you can use your ear.

Everybody seems to have their own method.

Here's my approach for what it's worth.

I get a lead sheet from the Realbook.

Look at the key signature of the tune, then look at the chord progression in the tune.

Note the song format, AABA, etc.

Some tunes are basically in one key with a few alterations. Some tunes have definite, audible key changes.

I have a few favorite fretboard positions that act as a base of operations using the major scale. In the C major scale this would be 8th and 12th frets. These are launching points. I use other positions also.

The major scale is my primary scale and then I make alterations if necessary.

I learn the melody, comp the chords in the tune, improvise over the tune.

I listen to the melody over and over until I can hum along with it. I pick out the melody on the guitar. If it's tricky or I can't hear it I'll look at a lead sheet. I can read music.

A great way to learn tunes is to put a song on while driving in the car and hum along with it over and over until you can hum the melody yourself. Just the melody, not the solos. Try it.

Learning many melodies is very helpful in the process. You will note many similar chord changes as you learn different tunes.

Everything is open to modification.

The more you do it the better you get.

**marcwhy** · 08-16-2016, 07:50 AM

Here's a starting place: Jamey Aebersold Jazz: VOLUME 76 - DAVID BAKER - HOW TO LEARN TUNES

**christianm77** · 08-17-2016, 08:43 AM

Personally, I think it's important to become aware of the voice leading in tonal harmony.

I have reasonable ears for picking out chords by ear for standards.

For example, I hear the II7 as a chord with the #4 and 1 in it (guide tones, right?), VI7 has 4 and 7, but IV only has 4 and so on, bVI7 has a #1 and so on. When you key into these particular notes, it's easy to use them in your melody lines, and listening out for these you can solo over functional chord progressions you don't know and learn songs quicker.

I spend a fair bit of time getting into melodies of songs and seeing how they relate to the chords.

Another great exercise is to sing the scale 1-7 or 1-7-1 over each chord using the BH system (e.g. no II's on II-V's etc) Check out BH's stuff for more info. This is easier to do than to sing the arpeggios of tunes.

Bebop heads are also worthy of study. Parker heads are actually pretty conservative with their use of what I call structural chromatic notes (that is notes that are altered from the basic key and are not used as passing tones or enclosures.) Listen out for these. b6 and #1's are big ones in Rhythm tunes for example (because of the frequent VI7 and IVm chords.)

Also, different accidentals can be used over different chords. b7 on IV7, b6 on V7 and so on. In terms of my own playing, I've come to the conclusion that the important thing is to create movement in my lines - doesn't have to be the same as the written changes, although that is an important starting point. The more I do this, the freer and more adventurous I get.

TH · 08-17-2016, 09:02 AM

Originally Posted by mooncef

I've heard Raney say , the older you get the more you play by ear ! Honestlt i'm still struggling to find the sweet between playing by ear phrases and still be aware of my positios and grips , so how do you go about it ?
i've also heard julian not hearing what he plays beforehand ,as he like the discovery of new things happening unplanned , this playing by ear seem to have no academic way of teaching it , and it's kind of a let go to tell an intermediate or beginner "play by ear and feel music " !

Your ear needs to be good enough to keep up with your hands. Your hands need to be aware enough to work with your knowledge. Your brain needs to be free enough to listen and know while some idea of what you want to do, where you want to go, is guiding your lines.

Yeah you're still struggling with it. How long have you been at it? Slowing down. Singing. All great advice! Composing a solo, creating micro compositions and becoming aware of your phrasing options before you play; a good idea. Training your ear so what you play, and what's going on with others is there instantly without trying.

Practicing with an awareness of pitch, interval and purpose of direction and weight.

All these things take time. You may need to learn patience and to temper your expectations so your progress isn't overshadowed in fantastic comparisons.

A lot of the questions I've noticed you posting are good ones. They're also ones that come from someone struggling to master the fundamentals and wanting faster results. It takes a good deal of time to go from someone who admires the music to the person who can craft the music. It's not magic. It's one step at a time hard work.
Take one question at a time. Work with it with focus. There will come a point that it will change you in a way that nobody can explain. And you'll really have it.
Believe me. Believe others on this forum who have gotten there. There is no short cut to the questions your hard work and time on with the guitar will give you. Train your ear. Control your hands. Master the visualization of the fingerboard. Know the importance of Key Centre. Recognize linearity in melody. Know your embellishments. See and hear key change. Know what you want to do and don't be distracted by others or your own impatience.

Easy peazy.
David

**smokinguit** · 08-17-2016, 10:34 AM

Yes, the melody is what it's about. Once you've internalized that and your ears is strong you can improvise all day, doing whatever you want (provided you have good technique on your instrument of course).

**dingusmingus** · 08-17-2016, 11:37 AM

Originally Posted by TruthHertz

Your ear needs to be good enough to keep up with your hands. Your hands need to be aware enough to work with your knowledge. Your brain needs to be free enough to listen and know while some idea of what you want to do, where you want to go, is guiding your lines.

Yeah you're still struggling with it. How long have you been at it? Slowing down. Singing. All great advice! Composing a solo, creating micro compositions and becoming aware of your phrasing options before you play; a good idea. Training your ear so what you play, and what's going on with others is there instantly without trying.

Practicing with an awareness of pitch, interval and purpose of direction and weight.

All these things take time. You may need to learn patience and to temper your expectations so your progress isn't overshadowed in fantastic comparisons.

A lot of the questions I've noticed you posting are good ones. They're also ones that come from someone struggling to master the fundamentals and wanting faster results. It takes a good deal of time to go from someone who admires the music to the person who can craft the music. It's not magic. It's one step at a time hard work.
Take one question at a time. Work with it with focus. There will come a point that it will change you in a way that nobody can explain. And you'll really have it.
Believe me. Believe others on this forum who have gotten there. There is no short cut to the questions your hard work and time on with the guitar will give you. Train your ear. Control your hands. Master the visualization of the fingerboard. Know the importance of Key Centre. Recognize linearity in melody. Know your embellishments. See and hear key change. Know what you want to do and don't be distracted by others or your own impatience.

Easy peazy.
David

So much great advice here.

I don't know where you are in your journey, Mooncef. I've been at this seriously about 3 years, after being a hobbiest rock-based guitarist and bassist. Although I practice a lot (several hours, most days), I have to say it's pretty slow. I'm much better than when I started, and I can generally get through a new tune with people without making a total train wreck, but I'm far from where I want to be. For example, I'm far from being able to "play by ear" only. I'm still doing a lot of thinking while I play.

It's cliche, but I try to enjoy enjoy playing and practicing where I'm at, and appreciate my progress. If I dwell on where I want to be, or where others are at, it is a drag. That doesn't mean I'm content to stay put--I'm always trying to get better. I just try to have a healthy attitude to avoid burnout.

"Comparison is the thief of joy!"

**matt.guitarteacher** · 08-17-2016, 12:17 PM

I've never really worked specifically on it enough, but I always liked the premise of Jerry coker's "hearing the changes" of using progressions in actual tines to learn to hear specific root movements and chord changes. At the very least, it's a really valuable resource as an index of tunes. They are grouped by progression , in order from most used to lesser used progressions etc.

**Boston Joe** · 08-17-2016, 12:42 PM

Originally Posted by matt.guitarteacher

I've never really worked specifically on it enough, but I always liked the premise of Jerry coker's "hearing the changes" of using progressions in actual tines to learn to hear specific root movements and chord changes. At the very least, it's a really valuable resource as an index of tunes. They are grouped by progression , in order from most used to lesser used progressions etc.

Someone called Confirmation last week. It's been a long time since I've played it, but I was pleased to note that I only had to look at the page for a chorus or two because the progression is so common.

I find that "just playing" becomes easier and easier, particularly on tunes I know well. There are times when I'm playing (soloing to be precise) when I'm sometimes not "specifically aware" of a particular change. (What I mean by that is, if you asked me the chord, I could probably tell you if I know the tune well, but at the time I'm playing, the name of the chord, scale, whatever, is not in my head. It's just the sound, and my fingers seem to know where to go.)

I'm not even close to where I want to be with it - it only happens for a few seconds and maybe two or three changes at most. I'd like to be able to play entire tunes this way. Maybe someday.

**emanresu** · 08-17-2016, 12:46 PM

Playing by ear can be the sweetest thing you can do. Just the progress is very slow and there is the trap of playing safe in the comfort zone. I can play eyes closed on "giant steps" without minding any theoretical thing whatsoever but it sounds all the same now. Chorus by chorus

I mean, I take it as a sporty tune.. a test bench. That gave the warning that its not so easy to become a complete jazz jedi learning stuff only like that. I think a good jazz player should be like a f1 team all in 1 person. Cant just drive on weekends and party on weekdays, must know as much as humanly possible about the tunes and stuff

. Playing by ear can eventually be the main goal of course, why not. It can be done. Just that it's not enough probably. May make you lazy:P

**Boston Joe** · 08-17-2016, 12:53 PM

Originally Posted by emanresu

Playing by ear can be the sweetest thing you can do. Just the progress is very slow and there is the trap of playing safe in the comfort zone. I can play eyes closed on "giant steps" without minding any theoretical thing whatsoever

Well, that's more than I can do. I can't even play Giant Steps when I AM thinking about theoretical things.

**Boston Joe** · 08-17-2016, 12:56 PM

Oh, one thing I did as a kid that really helped develop my ear-to-fingers connection - and at the time, I didn't even know I was doing it - was, I'd always have my guitar when I was watching TV, and I'd try to parrot back all the theme songs, commercial jingles, incidental music, etc.

It's probably not wise to practice with the TV on, but if you do that in addition to practicing, you might get some value out of it.

**emanresu** · 08-17-2016, 01:06 PM

Originally Posted by Boston Joe

There are times when I'm playing (soloing to be precise) when I'm sometimes not "specifically aware" of a particular change.

I remember when I had to learn standars like "Stella .." or any other that had chords in more than 1-2 keys in it, then it was damn frustrating to have to literally tell myself that now comes that Fmaj7 or whatever. Now, what sometimes happens with "odd chords" mostly is that the sound of the segment reminds me about that chord being Fmaj7. Not the other way round. I wish that would happen more. I guess there are different types of awarenesses.

**Boston Joe** · 08-17-2016, 01:22 PM

Originally Posted by emanresu

I remember when I had to learn standars like "Stella .." or any other that had chords in more than 1-2 keys in it, then it was damn frustrating to have to literally tell myself that now comes that Fmaj7 or whatever. Now, what sometimes happens with "odd chords" mostly is that the sound of the segment reminds me about that chord being Fmaj7. Not the other way round. I wish that would happen more. I guess there are different types of awarenesses.

Yeah, I know what you mean. I always forget the Ab in the bridge of Stella, but once I hear it, I'm there.

**Guitarzen** · 08-17-2016, 01:53 PM

You can be aware of harmony and use scales, arpeggios, chromatics guided by your ear as well as your brain, they are not mutually exclusive. Interesting as I read your quotes of Raney and Julian (Lage?) I realized both are true for me -- I've been using my ear a lot more lately and thinking a lot less of all the theory and I also have been purposely trying to just try to choose something totally random all the time to see if I can make it work or what happens. I've been finding just jumping to a random scale or arpeggio can sometimes provide some interesting melodic results.

**Thumpalumpacus** · 08-17-2016, 02:46 PM

Originally Posted by Drumbler

There was some guy who used to post here and on another forum who was attempting to play jazz totally by ear. This guy did not know a thing about jazz. Nothing. He was a blues/rock player. He would try to improvise over a tune totally by ear without any idea what he was doing. He was terrible. He had no clue.

This is where I'm at, and why I'm here; while I have good relative pitch, the intervals in jazz aren't those I have played often in the two simpler genres, and the chording is obviously much more demanding. The jazz lessons I took back in the 80s gave me a decent grounding in harmony, but I can't fly melodically with the same fluency.