Happy I found this , a few years ago I went into cardiac arrest , and had no oxygen for alomst 16 minutes ,and suffered memory lost , I'm a bassist , and I struggle to hear the root of the chord when it comes to rootless voicings. Any insight you could share on the matter , would greatly appreciate it your if you could . Thx !!!
A very good and clear explanation, paying attention to important elements such as voice leading, guide tones and harmonic movement, not just static chord sounds. The real problems begin when you use inversions or incomplete chords, for instance because mr Bass Player also wants a nice line. Jazz transcriptions and automated chord recognition software that support it often fail in describing the real harmonic situation. Jazz performances can be very ambiguous. You often just can't tell on the fly which chord it is, it requires time and analysis. And even then you may not come to an unequivocal conclusion. I remember a broadcast with Joe Pass and John Williams where Joe demonstrated in a brilliant way how he could recognise the harmony and improvise without knowing what John was going to play. But ... before they started Joe said something like this: please use clear chords and not some weird Leo Brouwer.
yes - excellent points. Often which chord it "is" is open to the interpretation of the listener. The bass player doesn't know which voicing the piano player will use, and vice versa. If you are the soloist listening to both of them - let's say you hear the pianist play Cma6. But the bassist plays an "A". So is it Cma6 or Amin7? The answer is "it doesn't matter" because they both function the same way most of the time.
Hi Tim,Thanks for your amazing content and share!your share inspired me a lot . my native language is not English so I don’t understand the “guide tone “part so well. What is mean “upper structure “you say ? Also is it the guide tone you recommend all are chromatic up /down (D,C#,C,B) or it can be like have different interval combinations eg(E,F,A,G,)
Wow. Straight professional teaching with no wasted time for marketing or other shit. Really thank you man !
No prob!
Happy I found this , a few years ago I went into cardiac arrest , and had no oxygen for alomst 16 minutes ,and suffered memory lost , I'm a bassist , and I struggle to hear the root of the chord when it comes to rootless voicings. Any insight you could share on the matter , would greatly appreciate it your if you could . Thx !!!
It's hard work!!!! But........ You'll be unstoppable! I need to do this more. Thanks for the routine.
Super fun and useful! I don’t find content like this anywhere else on TH-cam.
A very good and clear explanation, paying attention to important elements such as voice leading, guide tones and harmonic movement, not just static chord sounds. The real problems begin when you use inversions or incomplete chords, for instance because mr Bass Player also wants a nice line. Jazz transcriptions and automated chord recognition software that support it often fail in describing the real harmonic situation. Jazz performances can be very ambiguous. You often just can't tell on the fly which chord it is, it requires time and analysis. And even then you may not come to an unequivocal conclusion. I remember a broadcast with Joe Pass and John Williams where Joe demonstrated in a brilliant way how he could recognise the harmony and improvise without knowing what John was going to play. But ... before they started Joe said something like this: please use clear chords and not some weird Leo Brouwer.
yes - excellent points. Often which chord it "is" is open to the interpretation of the listener. The bass player doesn't know which voicing the piano player will use, and vice versa. If you are the soloist listening to both of them - let's say you hear the pianist play Cma6. But the bassist plays an "A". So is it Cma6 or Amin7? The answer is "it doesn't matter" because they both function the same way most of the time.
Pretty helpful ! I can’t wait to practice in that way. Thanks Tim for generous sharing 🤩.
Please keep making ear training videos, you’ve helped me a lot! Also if you ever consider making an ear training course, I would 100% buy it :)))
It’s in the works :)
@@TimCollinsVibes When??!!!
@@TimCollinsVibesupdate?
Good to have found your ear training exercises! REALLY good!
Awesome lesson! Can't wait to hear more ideas for ear training.
As if you had read my mind, I was pondering how to approach my bad ears, thank you!
Always a work in progress. Thanks for your vids. Really informative and practically helpful.
Love it
Thanks for the good contents
I love your insights and applications, thank you so much!
you have a really beautiful voice, like a radio broadcaster :)
Love watching you make it look so easy ❤
Fantastic.
Hi Tim,Thanks for your amazing content and share!your share inspired me a lot .
my native language is not English so I don’t understand the “guide tone “part so well.
What is mean “upper structure “you say ?
Also is it the guide tone you recommend all are chromatic up /down (D,C#,C,B) or it can be like have different interval combinations eg(E,F,A,G,)
👌
Hello! Do you know how to train the ear in order to hear a lot of notes played simultaneously?
Brilliant!
Do you focus this exercise mainly on common progressions/cliches? Or is it something you’ll do over every tune kinda thing
Nice
I do the same way
Do you use fixed do?
No, moveable Do.
Hey why you sing Ti instead of Si?
That’s just how I learned it in school.
@@TimCollinsVibes that's interesting because it's from around 1500 that in Europe we don't use "ti" .
Anyway very good exercise.
Many thanks
@@RobGuitar10 I guess we didn't get the memo in NY ;)
@@TimCollinsVibes 😂
Actually, I just realized why. Because with moveable “Do” we use chromatic syllables. “Si” is the sharp version of “So”.
Lmao WELP never gonna be able to do this