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Jazz Piano Lessons: Ear Training: Hearing Notes in Relation to Dominant Chords

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On a dominant chord,
we really have a lot of possibilities
as far as notes that will work on there.
On a C7 chord, which is what you're
gonna hear on the exercise, and
play the guide tones,
third and seventh as usual.
The only things that really don't work
are those that create a flat nine with
the third or our guide tones essentially.
It's amazing how ugly this is.
Yet this.
We love it there.
This flat nine interval is great.
If it's rubbing against our third or
our seventh though, it's out.
So the F and
the B are the only two notes that we
don't wanna hear over our dominant chord.
On the exercise,
you're gonna hear this in the first, and
then I'm gonna play something
to find against it.
And I'll identify what
these are shortly after I
play them as we've done in our
first two ear training exercises.
But now the possibilities
are the flat nine.
I always hear that little
piece of a cadence in it.
That one really wants to
go down to the root of our
seventh chord or
to the five of the resolution.
So then we have our nine,
which we should be starting to recognize
by now because this voicing here.
Is the first voicing we learned that had
an extension on it at all.
It was the natural nine which in
this case is a D on this chord.
Sharp nine we should also be recognizing
by now cuz we've been working with this
voicing as well.
That's kind of a Pink Panther
motif chord, I think of it as.
Back in the
or maybe Batman or something like that.
They were using a lot of
this harmony in TV shows.
The major third is always
gonna be the major third.
We're not gonna use this [SOUND]
cuz you're not gonna put
that on top of your harmony.
This one here is the sharp 11 again,
it has, again,
to me I wanna hear it go to the fifth,
it's one of the markers of that one to me.
This chord here is a really nice chord,
it's not the same level of kinda
Disney wonder chord as that is.
But still we can hear that that way.
The fifth kind of always
gonna be the fifth.
That one there is our other big altered
tension along with the sharp nine,
that's the flat 13,
A flat against our C7 chord.
this one we've been working a lot
with that voicing right there.
Our 13 voicing, and that one I just
hear it as the top of that voicing.
You can also hear it that way.
The head on Freddy Freeloader, which
is Freddy the Freeloader I think it is,
the tune where we're transcribing our
solos, that's basically the head.
Those first
notes of that,
[SOUND] that's the 13.
Flat seven,
of course s right on the chord.
Want to hear that one going up to the root
and we're not gonna use the major seven.
You're gonna hear on the exercise,
I'm just gonna play the root and
the guide tones, and then I'm going to
go with this and then you'll hear me say
sharp nine, sharp 11, and like that.
This is an important one because we
need to be able to hear these tones
against the harmony, and
this is a good way to get you going on it.
In our next ear training lesson we're
gonna start to do something interesting
with the transcribing we've done,
so I'll see you for that.