As you've gone through interval training
and other kinds of tonal color,
and chordal, and scale, and
arpeggio ear training ultimately
we wanna use this to be able to
capture solos from, from records and
from recordings of good of
jazz guitarists that you want.
I encourage you to do that.
It's a fantastic way to learn,
and some things that I've
transcribed from early solos of Wes and
Joe Pass and Pat Martino.
And, and not just guitar players,
I've transcribed a lot of Lee Morgan and
John Coltrane and Miles Davis and
Chick Corea piano solos those things
really have helped me develop my lang,
to develop my language of improvisation.
Not that I'm trying to play
other people's licks, but
I've learned how they
played through the solo.
Played through the changes by
studying what they did, and
it's helped me to develop my own
conversational language in that area.
So, transcribing linear
solos is interesting.
Somebody, I remember, there's a
Coltrane played on the two five
Right, was it the ninth,
and, going down to the third
of the dominant chord and
ending up on the fifth.
I remember listening to it the first time
I'm thinking wow that's funny it's almost
like a little pentatonic pattern
What helped me to, to recognize it was
the sound of a pentatonic scale over more
And that's why during the early you know,
checking out of intervals and
different kinds of scales.
And using that kind of ear trying,
helped me to recognize that when I was
transcribing a John Coltrane solo.
Or for example,
the number system helped me to recognize,
you know, on giant steps, you know
That pattern that Trane was playing
through those changes was one
two, three, five.
One, two, three, five, on every chord
So, I, I heard that, I said, oh,
I know that, those are, that's going up
the scale, one, two, three, and then he
skips the fourth and goes to the fifth.
So, when you're transcribing linear solos,
try to lean on
the things that you remember practicing,
the things that you remember doing,
ear training in intervals of scales and
And say oh, I know that sound,
that sound came from X, Y, or Z.
Same thing comes into play when you're
transcribing chord progressions.
And I've done a lot of that in my life.
I think it's very good.
I urge you to do the similar
exercise that we did, and
we'll also try to provide examples for
On the site, put together so
a little chord progression,
I'll just put one out here.
And record it, record five,
six other ones.
And play them back in random order.
And see if you can recognize one
six as a dominate seventh chord.
Again, six is a dominate seven cord.
And I play the flat six dominate cord
So, I, you know,
try to figure out what that is.
And play yourself, get somebody to play
some progressions for you and ultimately
the greatest thing is put on a song by one
of your favorite artists, that you don't
know yet, and see if you can guess what
the chords are from just listening to it.
Write it down, see what you think it is
and then compare that to the chart in
the real book, or the chart that you know,
and see if you got it right.
The last area I would suggest,
transcribing is a lot easier if you have
your instrument in your hand,
so you can check, and see if,
see if you get it right
did Coltrane play?
And play along with them
Yeah, that's right,
you can check it with your instrument.
But a really good challenge,
and this is pretty hard to do,
and I've done a bit of it by myself,
and it's been very very helpful.
Put the guitar down.
Don't have it in your hands.
And transcribe something without it.
And see how close you get.
Just, write it down, make a note of it,
and see if you, have it right.
Go grab your instrument after you're done,
and see if you've got that sequence of
notes the way it really was, or
whether your ear was tricking you.
And then check and
see why it was tricking you.
All right, if you do that a bunch you
really develop a very strong inner ear.
All right, that's your training,
onwards and upwards.