Next up is
the minor chord.
[SOUND] And the thing about a minor chord,
unlike the major chord where we
can't really use degree four of the scale
on top of the chord cuz it produces
that ugly sound, on a minor chord
anything in the scale sounds good.
So, here's our minor chords,
C minor triad [SOUND], D is nice [SOUND],
E flat is nice [SOUND], and the F is
nice [SOUND], the G is nice [SOUND].
You can even play all of them at the same
time, and it's a really great hip sound.
The flat is nice.
Just to reiterate, when we're working with
harmony, we are not using the bop scale.
[SOUND] We're just using the basic
notes of the scale, of the minor scale.
It's actually the Dorian scale, which is
the B flat scale, except starting from C.
So, any of these notes are good.
On the exercise, you're gonna
hear me playing a minor triad.
Identify that sound.
And I'm gonna tell you what they are after
a few seconds, after I play the intervals.
We're trying to hear these against
the quality of the chord rather than as
an interval that could be
anywhere in the chord.
As I mentioned before,
this interval [SOUND] could be over this,
[SOUND] like it is, or
it could be [SOUND] three and
four on a minor chord, an A minor chord.
It could be, if your Herbie Hancock,
[SOUND] could be a piece of a B flat
chord over an F sharp something.
And that's why we're working
on this to learn to identify
these extensions, these new notes,
and even the chord
tones over an actual sonority,
a chord in our left hand.
So, that's the exercise, quickly.
Things that you might think
about to identify these notes.
This one, it's the first extension,
and I hear it in relation to the root.
I kinda hear it wanting to go there.
The minor third, the saddest interval,
you have to know that one.
This one has a particular quality
of being okay with sitting there.
I don't really feel like that
needs to move somewhere, so
I don't hear it like I hear a lot of
things in terms of where it wants to go.
[SOUND] Although if I did hear that,
it would be up to the fifth.
[SOUND] The fifth, again.
The thirteen is a very
specific sounding note.
That's another kind of a wonder
I hear in relation to the root.
That's a little bit of how I hear it.
You'll learn to just hear these
the second you hear them.
So, put up this exercise, work against
the minor chord, get as fast as you can
at identifying these intervals, because
this again, this is the ear training,
the intervalic relationship training,
that we really use when we're on the gig,
because we're almost always working
against some kind of a chord.
I'll see you for the next lesson
which is our seventh chords, and
we have a lot of notes to work on on that.