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Sometimes, we get so much "head knowledge" that we being to disconnect from any practical use for that knowledge, at which point it is really worthwhile to get back to the basics. I, too, have much more theoretical knowledge than what I posted. I got to the point where it was almost like asking a centipede which leg goes first - and not knowing what to do to get moving again. I had to get back to these simple basics.

Tony

If you mean the bit that's bang on 0:38, he plays a transition from the D major chord (F# on top) to D sus (G on top).
There are two melody notes after that, up to D then down to B (Em chord). Maybe that's what you meant?

Tony, i got you man .

Dire, you are a genious ! Great ! Now i feel like a real Rock keyboardist while playing this song . I can't believe with 1 little , tiny transition how better it can get.

https://www.youtube.com/watch?v=xS7eWQVZyow

I gotta figure this one out know. I guess it consists of all basic chords. But i can't figure out the most part. I use transcribe too. Is there a hint or something you wanna give me for finding what chord it is?

I solved 1 song yesterday with this software. I am definitely progressing...

Try an E minor chord moving to an A minor chord and see if your ears can guide you from there.

Thanks Rerun. Man , let's look at the first 5 seconds. On the left hand he keeps playing E2-E3 keys back and forth. On the right hand he starts with Em chord but the two chords he plays on second 3 and second 5 is a mystery. Am? I don't know. It didn't sound right when i played it.

Add F# and G to the basic E min chord then when it changes to Am add them to that. The F# and G don't really change the chord, just colour it. The F# turns Em into Em sus2.

They add the sixth and flattened seventh to A minor.

Fatih, let me add to the great stuff Zrtf, DT and others have said ... give your ears a chance to understand what they are listening for (and why) a step or two at a time and you may avoid some frustration. This ain't a horse race but book it, I can understand your enthusiasm.

Chords tend to move in a predictable way for a lot of tunes that the EARS will pick up on if you let them, plus ears will begin to hear options to enhance what they already are telling your fingers to do. They are pretty incredible mechanisms to use in a pinch particularly when there no score to be found.

You're gonna be great at this stuff!

Zrtf, now that was very helpful ! Thanks man. You guys saved my ass for tomorrows band rehearsal. Hehe.

Rerun when you said "if you let them" what do you mean man? How do i let them?

If you use them to solve musical problems rather than a score. There are some turn-arounds that I remember working on forever until my ears finally got the fingers to strike the keys at the right time. You'll have moments like that too but it makes it worth it. Fun stuff learning to play music by ear that you and friends enjoy.

Thanks Rerun. I got you .

Guys, i swear to god i tried it hundreds of times but couldn't figure out the passage on 00:59 .


https://www.youtube.com/watch?v=xS7eWQVZyow

The right hand run? E, F#, G, B, A.

I wasn't sure if it was LH or RH doing this. Suppose may work either way.

The chords do not change. Take last four beats of the EM and begin stepping up to the Am with ... F# G, B AM ... continue. You could use broken octaves LH, or try RH and see about preference. He then begins using this pattern more often.

The LH is moving up in 8th notes E1 E2 F#1 F#2 G1 G2 rest G2 (broken octaves as Jeff put it) RH joins LH for F# G (beats 2 and 3) then B on its own.

A simple integrated stave editor would be a nice feature for PW.

You are the best guys . Even though i am the least experienced one of all musicians in the band , i am the only one who knows exactly to play, hehe.

Mark Harrison's Contemporary Ear Training course is derived from the Dick Grove School of Music. It is the only ear training course that I know that is based on hearing the scale as a set of resting tones and active tones that want to resolve to resting tones. I ended up hearing music in a whole new way and that is after 3 years of college level ear training. I use this course in my teaching.

Pete i had been trying to save some money to buy it but after you comment i just couldn't wait and bought it .

Oh by the way, do you mean 3 years of college level ear training wasn't as effective as this set?

Fatih: Feeling the pull of active tones wanting to resolve to resting tones is a very effective way of hearing melodic lines accurately. It is quicker than the way I was trained in college. There, I was trained to hear intervals from one note to the next note. No consideration was given to the context within in the scale.

Hearing intervals in the context of the scale rather than just isolated to 2 note fragments, seems to be way more logical and helpful in deciphering melodic ideas.

It also helps to hear the resolutions when improvising so melodic ideas seem to imply where they want to go and things tend to flow in a natural line.

Can you show here how this method works?

Dire Tonic: I will try to give a short example.

The major scale contains resting and active tones.
Do Me So are resting tones.
Re Fa La Ti are active tones that want to resolve.

Chapter one of the course gets you to play and sing the resolutions.
Re down to Do, Fa down to Mi, La down to So, Ti up to Do.



Try playing a major scale up from DO and leaving it at Ti. Most people will hear that it sounds incomplete and wants to pull up to the last note Do. With a little singing and listening to resolutions you develop a sense of gravity pulling the active tones to resolution.

Practice singing Re-Do, Fa-Mi, La- So, Ti-Do and it will start to happen.

The course goes through intervals within the major scale starting with major 3rds. There are 3 major 3rds in the major scale. Do -Mi, Fa -La and So- Ti.

Do - Mi lands on a resting tone Mi so you will not feel a resolution.

Fa -La want to resolve. La wants to fall to So.

So -Ti wants to resolve the Ti up to DO.

Sing the thirds going down
Mi -Do no resolution.
La- Fa. Fa wants to resolve to Mi.
Ti -So, No resolution.

Each major 3rd in the scale acts differently. Some want to resolve and some don't and you will learn to hear the difference and identify whats happening in the context of the scale. This is more helpful than being trained to hear 2 note intervals isolated from melodic context as it was taught at the college I attended and most ear training books.


Next the major 3rd interval gets inverted and you will get to work out the resolutions of the minor 6th that results.

Mi up to Do. No resolution needed.

La up to Fa wants to resolve to Mi.

Ti up to So needs no resolution.

Sing them from top note down with the resolutions etc.


The course continues through all the intervals in the scale in this way. Each chapter has a healthy amount of dictations in several keys. The dictation melodies contain the resolutions and intervals studied in each chapter.

Hope that explains things in an understandable way.