Now, it's time to learn
how to hear some of the most common
chords that we find in jazz.
And we've talked about some major and
and a little bit about dominant.
But now I really wanna do some ear
training and just show you some sounds.
For you intermediate folks,
I think it's time you consider at least
having access to some sort of keyboard.
So you can really play some of
these sounds and sing them.
Because it's very important for
you to be able to respond and
develop a quick response time
to chords that come at you.
In jazz music, you're gonna be
playing with piano players and
guitar players that play all kinds
of beautiful sounding chords.
You're gonna need to know the difference
in milliseconds, what they're doing and
how to process that and go and
not be stuck wondering?
And this is a challenge for all of us.
I had the good fortune of studying some
ear training when I was a teenager with
David Baker, who's sort of the godfather
of jazz education in America,
in my opinion.
So he had a class, and I grew up playing
by ear, and I learned how to read music.
I thought I had a pretty good ear until
I went to that class one day, and he was
playing chord changes and just going,
[SOUND] sing and all these kids were
singing the scales through and I went wow,
I thought I had a good ear, I guess not.
So it's natural sometimes to feel a little
bit put on the spot by this sort of stuff.
But think of it as a game, and think about
getting to know the chord qualities,
they call them chord qualities,
they're different kinds of chords.
Think of learning how to view them
as like friends, old friends.
So that when somebody hits that sound,
[SOUND] you know that its a minor
seventh or if somebody hits this sound
like [SOUND] then you know its
a major seven, and that sort of thing.
So now, I'm gonna help you to start to
develop this cuz this is really important.
So let's start with the major seven sound.
And for now we're only gonna
do the most basic alteration.
We're going to do
the major seven by itself
okay, that's one voicing.
Sometimes you might hear it like this.
[SOUND] And you can see these
voicing now and you can copy them.
There's the root in the seventh, and
I just have the third, and the fifth, and
the seventh, and it's very simple.
You should be able to sing it.
You should be able to match the root.
And know that that's a major seven.
That's one, three, five, major seven.
Now, sometimes one of
the sounds that is real common,
obviously is to add a nine,
so then you have this sound.
There's the nine.
So a nice voicing is to have the root and
fifth on the bottom, and the nine, and
the third, and the major seven on top.
I'll try to get my fingers out of the way,
so you can see the notes.
I'm adding the nine.
That nine is pretty hanging up there.
[COUGH] Now we're gonna put
in what is called a plus eleven.
You remember from your intervals,
plus eleven in C is that F
sharp sitting over here.
It's a pretty sound.
So I have a root in the fifth.
The 9, 3 plus 11 there.
And I have the major seven on top.
so your gonna play that even though
the sharp 11 is way up there your
going to address it down low too.
So here we're getting into
the sound that we call Lydian.
Now it's one of the modes.
But for now I just want you to know
that a Lydian scale is one, two,
three, sharp four, five, six, seven.
And if you're
interested in modes,
which you can also look
up on the internet.
But the modes are just
taking the major scale, and
starting from each note
on the major scale.
So in this case,
a C Lydian is based,
because it has that F sharp in it.
It's based off of a G major scale.
It's just like playing a G major scale
from the fourth note in the scale.
So here's G major scale.
So it's just like playing.
We have just the one F sharp,
from the G major scale and
we're starting on C.
a plus 11.
So now we've learned major seven.
That's a simple major seven.
Here's with the nine.
There's the nine.
Then with the plus 11.