So this first ear training
exercise is pretty simple.
What you're gonna hear is.
You're gonna hear the interval like that.
And then, there's gonna be a little pause.
And then I'm gonna tell you what it is.
We're gonna start out by just playing.
[SOUND] Major second.
[SOUND] Major third.
I'm just gonna go up the scale like that,
that you can kind of internalize
the sound of what this is.
I should also point out here that most
jazz musicians don't have perfect pitch.
That is not necessary in jazz.
What we're working to develop
is really great relative pitch.
If you have a key.
[SOUND] I'm playing in E flat is the key.
And you hear that.
[SOUND] You just to know that that's an A.
And you need to know [SOUND] that
you could sing that and find it.
Or the F, [SOUND] you can find that too.
So, I think there's some mythology
that you have to have perfect
pitch to be a great jazz musician.
You really don't.
You just need to be able to find
yourself in relation to another note or
a sequence of other notes.
So we're gonna up a scale.
after each one your gonna
hear what that interval is.
And then it's just gonna start to vary.
[SOUND] That perfect fourth.
I didn't make that up, fourth is not
a major or a minor, it's a perfect.
[SOUND] And same with the fifth.
And then, [SOUND] major seven.
And these exercises are about eight or
nine minutes long so
that you can go through them and
not really memorize them.
And use those to develop a sense for
which note sounds like what and
what quality it carries for you.
Because when we get to our motivic
lessons, we're gonna especially start
working with the idea of making as much as
we can out of as few notes as possible.
And to play like that.
Those are just shapes that I'm hearing.
And I hear the whole picture as I'm
playing, because the quality of the notes
and things is so baked into me that
I don't have to think about it.
My mind is purely on the melody that
I wanna make, rather than, gee,
what note is this?
[SOUND] No, that's not it.
I'm not doing any of that.
So, work with that exercise.
The first one is on the major scale.
And the second one is on the minor scale,
and it's the same idea.
[SOUND] Minor third.
[SOUND] Major sixth.
Note that even [SOUND] on a minor
chord if the interval is a major,
[SOUND] which that is.
This is the minor sixth.
[SOUND] But so
I'm gonna call it a major sixth even
if it's sitting on a minor chord.
And those are the first two of
the ear training exercises.
They are all scale tones.
We're not going anywhere weird with this.
We're covering the majors, and the minors,
because the minor gives us the dominant
seven, which is actually a minor seven.
And for now, they're just in C, so
I will see you for those two lessons,
which you'll find in
the audio downloads section.
There's probably a link right below this
lesson for both the major and the minor.
And start training that ear cuz it
really is the master of ceremonies
when you are blowing.