Studied with Bob Magnusson, the bass player for Sarah Vaughn. He said that Sarah's ear was incredible. If something wasn't to her 'Standard', she'd stop the band and sing the chord she wanted. She knew the sound she wanted precisely, note for note. So this is great, right on.... Thanks for sharing it.
First minute and 20 seconds: Hey this is pretty cool, I bet I can get this down with a bit of practice. Next 40 seconds: Maybe more than just a bit... lol
Superb! Supercharging relative pitch. Unofficially: Passive Relative Pitch = listening and naming notes with an aid of a reference pitch. Active Relative Pitch = producing lines and chords in your mind and then playing them. There are two types of perfect pitch: active and passive. A person with active perfect pitch is able to sing or hum any given pitch; that is, if they are asked to sing a Bb without hearing the said note or any reference note, they can sing it without any problem. If a person with passive perfect pitch is asked to sing the same Bb note, they cannot. However, if a random note is played for them, a person with passive perfect pitch will be able to name it without any problem. A person with Bilateral Perfect Pitch can do both* ( I don't know the exact English translation for 'Bilateral' here, the original study is in Finnish. We could use 'two-sided' in place of bilateral. (Finn: Kaksisuuntainen = bidirectional)
That's interesting - I've never really read up on any studies about it. I do remember years ago I heard a very interesting guest on WNYC music radio show, who was saying they had studied more than 2000 people with perfect pitch, and found that as those people get older, their 'pitch' goes up. In other word, a person would hear a C as a C# later in life. Someone called in to the program and claimed to have had exactly that experience. I certainly did not know any of the terms you presented here.
That's what's happening to me, it's really confusing! If I could stop hearing the notes I could use my relative pitch just like anyone else but this voice in my head keeps singing those notes, and now they are wrong! :'(
Great ideas Tim, thank you!! One practice I do is to take a 4 voice Bach chorale and sing one part while playing the other 3 on the piano, and then doing all parts in the same way.
As a bass player I’ve found a creative drill in singing a triad/inversion and than moving the bass (played on the instrument) around, just paying attention not only to the overall sound, but also on how the same triad seems to “change color” reacting to the different bass. It can be a fun take on working on your ear in a way more similar to what a pianist does.
LOTS OF GREAT EAR TRAINING PRACTICE TIPS THAT are UNIQUE... THANKS TIM!
5 ปีที่แล้ว +2
Man!! Glad to watch this not only about the content but the commitment about your ear training! Beautiful to watch it practicing by yourself because alongside your casual mistakes, it demonstrates the time and effort you put in those exercises. Loved it!!
This is good direction. I have seen people giving random chords. We want "why" and not "what" to learn. This makes more sense from a very brut force perspective. You need to know just notes in order to clear this step. It's quite difficult. But I've hope. Thank you.
Nr. 4, the "Surprise Play-Along" ... wow, that's such a powerful exercise because it forces playing and improvising outside of the comfort zone. I noticed that once my concentration goes down, I subconsciously go back to movements and licks that I practiced the most. For Ableton Live users like me, shuffle-playing chords is easily done: - In a single MIDI track, record one bar (1 chord) per clip - With, say, 12 subsequent clips in the track, set "follow action" to "random" so it would randomly repeat the same clip or continue playing one of the 11 other clips - Add a drum track with a minimalistic 12-bar drum loop - Set tempo and hit "play"
Thanks for the tip! I know absolutely nothing about Ableton Live. You could probably go crazy with that idea and record random 2-5-1s or even crazier stuff as well.
@@TimCollinsVibes Exactly. I can't recommend Ableton Live for mixing and mastering, but for fooling around with clips, it's just perfect. Thanks again for the video!
I have tried the bass note singing thing in the past. Must go back to it. Also like to sing 2nd parts of duet while playing the other part. Easy parts from William Leavitt Berklee guitar method. Also harmonising with voice while playing scales with certain intervals e.g. consecutive thirds. Playing straight up and down at first then random order.
Hey there, can I ask you a question about this? Firstly, can you tell me anything more about the bass exercise, or ANY bass exercise, that you've found helpful? And When you're doing the scale thing, you're just choosing an interval, and going through the scale consecutively? So you'd play 'c', and sing 'e', then play 'd' and sing 'f'?? And then you'd pick a random note, and try to sing that third instantly? And did you branch out to other intervals? (Sorry if this, or any of these, are naive questions!). Many, many thanks for your time. Jeff
Hey Tim , thanks a lot for the video it gives great input on how to develop a good ear. Could you do a course out of it???. Like a methodical way to develop those principles for unmethodical people like me. I'm sure a lot of people like me would pay for such a thing. Please think about it. Thanks
Hey Tim, thanks for the great video. I did this: back in college, I made 12 game cards and every card had a different note on it . So came up with a lot of ways to play ear-training games, with the help of the chards I created e.g. random 12-tone-rows, random intervals/tri-chords or root movements and then I tried singing them. Sometimes I just used 7 seven and created diatonic exercises...
What helped me a lot about ear was to had learned to sing well in tune, to become a singer (not a good one but a decent one). That means to learn how to sing notes with a good amount of precsion, without to damage the voice (respiration, air colomn, use of facial bones as resonators, belly breathing, use of diaphragm, etc....). It forced me to really pay attention to the notes, to imagine them before to sing, and to be able to apply all the needed technique to sing them. Each note becomes very specific, internalized. Very good training for anticipation in music. When i was young i had the oportunity as guitarist to play with dancing bands, very great way to develop your ears too, since you have to comp for various musicians, all with their own repertoire, often without sheet music, then all by ear... And thanks for this excellent lesson !
This is the Zlotnick pivot system. Very few people know this method of ear training. I learned it in music school back in Chicago around 1970's. Good work.
Thank you so much Tim. I immediately subscribed. I'm excited about this video. Ive always gotten total marks in aural part of my music exams. This is great. I'm so glad I found your awesome channel.
For fun I use to sing exploded chords, like C-G-E, C-B-E or just C-E with a 10th between the C and E. I can sing along to songs singing the chords, or just sing the exploded songs to myself and have the melody in my head. I guess that if I practised it enough I would be able to improvise over it while doing it, but I’m not that good yet.
What i often tried is to take a simple folk tune or childrens song or something like that, where you just know how the melody sounds but you don't how it looks on sheet music, and you try to play trough just by ear with playing as many right notes as you can. you can then always adjust the difficulty level if you're gettin trained with this method, i still do it, not often enough i have to admit ;)
Great exercises and ideas! Thanks for sharing and the effort of making the video. I had to simplify a lot to get started. I just did 3rds and 5ths on major chords to begin with and will then need to add more notes and chords. Will probably take some weeks or months.
I think I would need something more begginer friendly, like decomposition of those methods, but I will try anyway. This is a wonderful work Tim, thank you :)
@@TimCollinsVibes Thank you, sure I will! Even though your lesson is above my level at this point, it sure made me want to achieve singing those shiny Maj7#11 chords! :)
I remember some of this exercises, this material Is very helpful, thanks a Lot! It makes me remember the exercisrs in Paul Hindemith's Book. Tim... You are great. Best
I was hoping this would teach me how to hear entire chords in my head. I think this method of ear training is very valuable nonetheless and a great resource for people that took the standard college ear training route.
A good technique I learned from Walter Norris many years ago: Play a scale with your left hand. Play another scale with your right hand. Sing a third scale simultaneously. Good to start with: LH C major, RH G major, Sing E major. Hard stuff: LH C major, RH D major, Sing Db major.
Yeah that sounds like a good way to scramble one's brain ;) I suppose it's not all that different from trying to sing one song while another song is playing on the radio somewhere.
Hi Tim In what part of the world do you live? My emphasis is playing totally by ear and I would like to further improve my ear. I would love to take some in-person lessons. I am in the San Francisco Bay Area.
Question on the 4th method - should the root for all the chords be the same, so like C7, Cmaj7, Csus, etc? Or is trying to figure out the changing roots as well as qualities part of the challenge? That sounds super tough if so. Also, kinda specific, but did you add a metronome somehow to keep time or is it more rubato? Thanks!
Good question - really you could do it any way you wanted. When I did it, I made all of the chord qualities the same (like say, Minor/Major 7th) and each track was just a different root.. so I had to figure out the root movement. But I suppose you could put every possible type of chord into the system, with all 12 root possibilities, and just have random chords coming out that you have to find your way around improvising. Sounds like a good time! hehe
As an example, when you are making your tone the maj7 of some chord, what is your brain process to find the chord, do you find the root by going up a half step and then think of a major triad, or are you "working down from my note a M3, then down a m3 then down a M3" or some other method ?
Hi Tim, just a question: you, as a comper, how do you train your ear in order to understand what the soloist is playing at that exact moment? I'm really trying to figure it out to understand at the "light-speed" which target notes the soloist is landing to or simply the scale he/she is using. I think a good training would be to listen to a lot of soloists, transcribe them and get the sound into your ear. thanks!
It depends on how well you know the soloist, and how much of the language they are using that you have practiced yourself. I sometimes recognize things other people play because I've spent time trying to play the same things before. Certain 'tricks' that people use are easy to hear once you've practiced it yourself. Also - I think one of the best things people can do is talk about it with the soloists after the gig/rehearsal/session whatever.. "Hey, what was that cool riff you did in this spot'... when you freeze frame these little moments, you can have a chance to make a musical response without the pressure of 'real time reaction'. Over time I think those things slowly seep in and you can react more quickly. Also - your last point about transcribing is absolutely correct :) Get the sound in your ear!
@@TimCollinsVibes Thanks for your fast reply! Your reply makes totally sense, and I'll tune into it. I was lucky enough to follow a masterclass with Brad Mehldau and it was incredible how he was catching all the phrases that the saxophonist was playing, but also incorporating those choices into his voicings, expecially with his top note of the chord!
I sing telephone numbers to practise ear training AND help me remember the numbers. I decide in advance which scale/mode/chord I'm going to be using, zeros get a rest. I might make a tune up based on all my friends' telephone numbers and call it 'Friendship Song'. Before someone else says it, I guess with habits such as this, my song probably won't be very long... 😢 Well, anyway, MY telephone number makes a great tune! 😄👍
@@darrenshearer1730 You'll never look back. When I have to remember my home telephone number, I just hear my song. It's in the mixolydian mode, just so you know.
@@br4648 I assume some tunes sound better in different modes? I think it might be a challenge if you have no 3's and a lot of 4's, but could be interesting. Do you ever add words to the songs?
@@darrenshearer1730 Yah, I choose a mode depending on the numbers available, so as you have surmised, my tel number has some 3s, 5s and 7s. I do actually make up lyrics to melodies I'm trying to memorise. The last one I did was for Billie's Bounce. I will basically do anything to try and add another dimension to music to help me to learn it on a deep level.
I love jazz and this was very interesting! Congratulations! Also, you're pretty convinced you don't want perfect pitch... I mean, you're right, you can guess intervals and that stuff without knowing the pitch, but it's wonderful to feel different things when listening to different keys/chords. Like, if I play a song in F minor and next day I play it again in E minor, people won't realize, but I will give me completely different feelings, which is beautiful! I can experiment with keys. That's the only thing that people without perfect pitch should want!
Not very creative but useful is the following exercise: after being able to arpeggiate the chords of a tune: start singing the notes of each given chord in another order. Then add rhythm. Once you are comfortable with this, add diatonic or chromatic passing notes, while checking after a few bars, whether you are still in tune. A metronome can help with the rhythm.
great lesson Tim! Cool that you're putting out so much content lately, really like it. Also, your ears are incredible!! one five seveeeen. one three five seveeennn.
I also use solfege a lot and I believe in it 100% for diatonic melodies. But for singing things like Altered Dominant chords it isn’t really the way I think of them.. plus I learned it in school so it doesn’t fit with the title :)
Hi Tim, nice video. Your relative pitch skills are very impressive to say the least. I have a question I would like to ask you. When you change the C from being the minor third of an A minor chord, to let's say a major 7th of a DbMaj7 chord, do you establish the sound of the major 7th's root (Db) in your mind first and then use it as a reference point to sing the rest of the intervals? Or do you think of going down a major third from the major 7th (C) interval to the perfect 5th (Ab), then down a minor third from the perfect fifth interval to the major 3rd (F), then down a major third from F to the root Db? So simply put, do you establish the root in your mind first and then use it as a reference point to sing the remaining intervals or do you think of one interval after the other without establishing the root of the chord in your mind first? Thank you.
Not sure what that is.. it does sound like an F - it’s possible I kind of slipped on the keyboard.. I vaguely remember that it was difficult to always look directly into the camera while playing the piano part. Of course, that doesn’t change the point of the video, which is to give you ideas for ear training. Sorry if I missed a note.
Mr. Blake! It's an honor to see you here. Thank you for the comment - We've never met, but I know who you are and the contributions you have made as both a performer and a teacher. Thank you!
Don't get me wrong, you can certainly make great use of perfect pitch if you have it. But many people with perfect pitch don't hear the "tonal gravity" of notes in the context of a scale or chord. They just hear the pitch and that's it - there's no context.
So I'm going to put this into guitar speak. I feel like my ears were at Black Sabbath Iron Man ability level and then I see this Yngwie Malmsteen of ears here sing an E#/Cb 9.5 b17 chord and now I'm just like shit... This dude could probably fart out jazz chords better than I can sing a major triad . And he's not even a Japanese twelve year old! You know, that kind of phenom you know is out there. But this is just cruel. Why is life so unfair?!
Studied with Bob Magnusson, the bass player for Sarah Vaughn. He said that Sarah's ear was incredible. If something wasn't to her 'Standard', she'd stop the band and sing the chord she wanted. She knew the sound she wanted precisely, note for note. So this is great, right on.... Thanks for sharing it.
That’s awesome!
Don't know how many ear training videos I have seen but this is one of the best 8 minutes I have seen. Props.
First minute and 20 seconds: Hey this is pretty cool, I bet I can get this down with a bit of practice.
Next 40 seconds: Maybe more than just a bit... lol
Superb! Supercharging relative pitch.
Unofficially:
Passive Relative Pitch = listening and naming notes with an aid of a reference pitch.
Active Relative Pitch = producing lines and chords in your mind and then playing them.
There are two types of perfect pitch: active and passive. A person with active perfect pitch is able to sing or hum any given pitch; that is, if they are asked to sing a Bb without hearing the said note or any reference note, they can sing it without any problem.
If a person with passive perfect pitch is asked to sing the same Bb note, they cannot. However, if a random note is played for them, a person with passive perfect pitch will be able to name it without any problem.
A person with Bilateral Perfect Pitch can do both*
( I don't know the exact English translation for 'Bilateral' here, the original study is in Finnish. We could use 'two-sided' in place of bilateral. (Finn: Kaksisuuntainen = bidirectional)
That's interesting - I've never really read up on any studies about it. I do remember years ago I heard a very interesting guest on WNYC music radio show, who was saying they had studied more than 2000 people with perfect pitch, and found that as those people get older, their 'pitch' goes up. In other word, a person would hear a C as a C# later in life. Someone called in to the program and claimed to have had exactly that experience. I certainly did not know any of the terms you presented here.
That's what's happening to me, it's really confusing! If I could stop hearing the notes I could use my relative pitch just like anyone else but this voice in my head keeps singing those notes, and now they are wrong! :'(
Bilateral perfect pitch is what I have. For some reason I can't name intervals without counting the distance between the notes though. Idk why lol
@@TimCollinsVibes Ur terrific!! Natural talent.
There's no such thing as active and passive perfect pitch. I don't know where you got those ideas. It's nonsense
Great ideas Tim, thank you!!
One practice I do is to take a 4 voice Bach chorale and sing
one part while playing the other 3 on the piano, and then doing all
parts in the same way.
As a bass player I’ve found a creative drill in singing a triad/inversion and than moving the bass (played on the instrument) around, just paying attention not only to the overall sound, but also on how the same triad seems to “change color” reacting to the different bass. It can be a fun take on working on your ear in a way more similar to what a pianist does.
LOTS OF GREAT EAR TRAINING PRACTICE TIPS THAT are UNIQUE...
THANKS TIM!
Man!! Glad to watch this not only about the content but the commitment about your ear training! Beautiful to watch it practicing by yourself because alongside your casual mistakes, it demonstrates the time and effort you put in those exercises. Loved it!!
Thankyou for inspiring me to practice this way❤❤❤❤loads of love for you❤
I’m sitting here at the piano singing bmaj7 over cmaj7 and my kids thinks i’m crazy. Thanks! Brilliant excercises.
This is good direction. I have seen people giving random chords. We want "why" and not "what" to learn. This makes more sense from a very brut force perspective. You need to know just notes in order to clear this step. It's quite difficult. But I've hope. Thank you.
WOW!! This excercise is by far one of the most efficient ones I've ever tried! Thanks a lot for sharing
,😮 this is very advanced.And Kool too, thank you for sharing this Tim 🤘😎
Nr. 4, the "Surprise Play-Along" ... wow, that's such a powerful exercise because it forces playing and improvising outside of the comfort zone. I noticed that once my concentration goes down, I subconsciously go back to movements and licks that I practiced the most.
For Ableton Live users like me, shuffle-playing chords is easily done:
- In a single MIDI track, record one bar (1 chord) per clip
- With, say, 12 subsequent clips in the track, set "follow action" to "random" so it would randomly repeat the same clip or continue playing one of the 11 other clips
- Add a drum track with a minimalistic 12-bar drum loop
- Set tempo and hit "play"
Thanks for the tip! I know absolutely nothing about Ableton Live. You could probably go crazy with that idea and record random 2-5-1s or even crazier stuff as well.
@@TimCollinsVibes Exactly. I can't recommend Ableton Live for mixing and mastering, but for fooling around with clips, it's just perfect. Thanks again for the video!
I have tried the bass note singing thing in the past. Must go back to it.
Also like to sing 2nd parts of duet while playing the other part. Easy parts from William Leavitt Berklee guitar method. Also harmonising with voice while playing scales with certain intervals e.g. consecutive thirds. Playing straight up and down at first then random order.
Hey there, can I ask you a question about this? Firstly, can you tell me anything more about the bass exercise, or ANY bass exercise, that you've found helpful?
And When you're doing the scale thing, you're just choosing an interval, and going through the scale consecutively? So you'd play 'c', and sing 'e', then play 'd' and sing 'f'?? And then you'd pick a random note, and try to sing that third instantly?
And did you branch out to other intervals? (Sorry if this, or any of these, are naive questions!).
Many, many thanks for your time. Jeff
love your videos Tim - you have super teaching skills!
Genius. Revolutionary. Beautiful. Bravo.
Hey Tim , thanks a lot for the video it gives great input on how to develop a good ear. Could you do a course out of it???. Like a methodical way to develop those principles for unmethodical people like me. I'm sure a lot of people like me would pay for such a thing. Please think about it. Thanks
Very impressive . Fo me it's impossible to do that!!! "It's a kind of magic"!! Do you have a formation beginning by A... B...C?
This is insane! Thanks for the exercises
thanks so much looks like an amazing technique
Tim Collins is my music teacher in real life
You are extraordinary my friend, if I can call you that! Wonderful! Nice ear trining skills! Congratulations!
Love this! Killer exercises...thanks Tim!!
sure thing!
Hey Tim, thanks for the great video. I did this: back in college, I made 12 game cards and every card had a different note on it . So came up with a lot of ways to play ear-training games, with the help of the chards I created e.g. random 12-tone-rows, random intervals/tri-chords or root movements and then I tried singing them. Sometimes I just used 7 seven and created diatonic exercises...
Man that's a cool idea. I was thinking about something similar to that but with little phrases on them. Could be cool too.
@@TimCollinsVibes That's also a cool idea too, but man I'm a bassist... a single pitch is enough for us ... haha just joking
What helped me a lot about ear was to had learned to sing well in tune, to become a singer (not a good one but a decent one). That means to learn how to sing notes with a good amount of precsion, without to damage the voice (respiration, air colomn, use of facial bones as resonators, belly breathing, use of diaphragm, etc....). It forced me to really pay attention to the notes, to imagine them before to sing, and to be able to apply all the needed technique to sing them. Each note becomes very specific, internalized. Very good training for anticipation in music. When i was young i had the oportunity as guitarist to play with dancing bands, very great way to develop your ears too, since you have to comp for various musicians, all with their own repertoire, often without sheet music, then all by ear...
And thanks for this excellent lesson !
Yeah - there are so many great ways to work on it. With my school classes we do lots of Solfege singing (Do Re Mi)
Yes !
I think it’s a good thing to play with bands for dancers it will developpe the ears !!
I play incomplete chords and sing other chord tones or tensions. Eg., play 1-3-7 and sing flat 13
This is the Zlotnick pivot system. Very few people know this method of ear training. I learned it in music school back in Chicago around 1970's. Good work.
I’ve never heard of that- I’ll have to check it out!
Thanks Tim, great ideas
Thank you so much Tim. I immediately subscribed. I'm excited about this video. Ive always gotten total marks in aural part of my music exams. This is great. I'm so glad I found your awesome channel.
Thanks! Glad to hear you find the videos useful. I promise there are more coming soon.
Amazingly creative eat training! Wow. That gives me a lot to think (sing) about. Thanks for sharing.
Awesome work man! Great exercises!
Very cool! Gotta check that out! Thanks for the great ideas! Cheers from Hamburg!
the first 2 minutes made me depressed
You are not alone. :-) :-(
That exercise is really really good do it
same , i was all like , how is he doing that ? this is amazing
For fun I use to sing exploded chords, like C-G-E, C-B-E or just C-E with a 10th between the C and E. I can sing along to songs singing the chords, or just sing the exploded songs to myself and have the melody in my head. I guess that if I practised it enough I would be able to improvise over it while doing it, but I’m not that good yet.
Tim, thank you so much! It's a great lesson ! Very interesting and useful!!
This is were I realize that not practicing solfeggio when you were young comes back to bite you in the as...
What i often tried is to take a simple folk tune or childrens song or something like that, where you just know how the melody sounds but you don't how it looks on sheet music, and you try to play trough just by ear with playing as many right notes as you can. you can then always adjust the difficulty level if you're gettin trained with this method, i still do it, not often enough i have to admit ;)
Now that's useful to practice. Thanks.
Great exercises and ideas!
Thanks for sharing and the effort of making the video.
I had to simplify a lot to get started. I just did 3rds and 5ths on major chords to begin with and will then need to add more notes and chords. Will probably take some weeks or months.
Brilliant stuff
Wow what awesome concepts mindblowing
This is AMAZING!!!! Thank you for this!!
I think I would need something more begginer friendly, like decomposition of those methods, but I will try anyway. This is a wonderful work Tim, thank you :)
Start by singing scales and triads :)
@@TimCollinsVibes Thank you, sure I will! Even though your lesson is above my level at this point, it sure made me want to achieve singing those shiny Maj7#11 chords! :)
What a great exercise, thanks, Tim!
Beautiful explaining 👍👍👍👍👍👍👍👍👍👍👍👍👍👍🙌
that is some really good methods from you ! thank you!
This is incredible. Thank you.
Do you still do these exercises? And how useful have you found them to be over time? Thanks!
Yeah - I need to do this every so often just to maintain it. I definitely have days when I feel like I'm getting worse at it!
I remember some of this exercises, this material Is very helpful, thanks a Lot! It makes me remember the exercisrs in Paul Hindemith's Book. Tim... You are great. Best
I remember doing some of this with you guys in Argentina - still one of my favorite musical trip memories! Hope all is well with you.
fantastic...thanks for sharing.
Great exercises Tim, thank you
1:18 singing Eb instead of D there... How effective is this technique? 😂
Ah. I made a mistake. I guess the whole video is useless now?
I was hoping this would teach me how to hear entire chords in my head. I think this method of ear training is very valuable nonetheless and a great resource for people that took the standard college ear training route.
Great job! Thanks!
What is actually G7alt chord? is it with #4 , #2, ..??? Thank you.
@Some Phaggot Thank you. God bless you.
Awesome Tutorial!!!!!!!!!!
Your awesomeness 😮😊
A good technique I learned from Walter Norris many years ago:
Play a scale with your left hand. Play another scale with your right hand. Sing a third scale simultaneously.
Good to start with: LH C major, RH G major, Sing E major.
Hard stuff: LH C major, RH D major, Sing Db major.
Yeah that sounds like a good way to scramble one's brain ;) I suppose it's not all that different from trying to sing one song while another song is playing on the radio somewhere.
This is great! Thank you!
Hi Tim
In what part of the world do you live? My emphasis is playing totally by ear and I would like to further improve my ear. I would love to take some in-person lessons. I am in the San Francisco Bay Area.
Thanks for the comment.. well, I live in Munich, Germany. So if you decide to come to Oktoberfest we can make that happen!
Late to the party, but this is KILLIN’!!!
very cool
Question on the 4th method - should the root for all the chords be the same, so like C7, Cmaj7, Csus, etc? Or is trying to figure out the changing roots as well as qualities part of the challenge? That sounds super tough if so. Also, kinda specific, but did you add a metronome somehow to keep time or is it more rubato? Thanks!
Good question - really you could do it any way you wanted. When I did it, I made all of the chord qualities the same (like say, Minor/Major 7th) and each track was just a different root.. so I had to figure out the root movement. But I suppose you could put every possible type of chord into the system, with all 12 root possibilities, and just have random chords coming out that you have to find your way around improvising. Sounds like a good time! hehe
@@TimCollinsVibes Cool, thanks!
oh my you are so good
As an example, when you are making your tone the maj7 of some chord, what is your brain process to find the chord, do you find the root by going up a half step and then think of a major triad, or are you "working down from my note a M3, then down a m3 then down a M3" or some other method ?
Hmm.. I think i find the root by going up a half step, but then down the chord from there (P4, m3, M3)
the sound of the doing around stuff while you are in a tune! the sound of each thing around you in your tune"
I'd like to hear you do the theme to The Great White North the Bob and Doug Mackenzie show from SCTV!!!
Please sing rainbow connection
awesome!
Great job!
Radical. That would make music much easier. Haha.
Whoa!
Hi Tim, just a question: you, as a comper, how do you train your ear in order to understand what the soloist is playing at that exact moment? I'm really trying to figure it out to understand at the "light-speed" which target notes the soloist is landing to or simply the scale he/she is using. I think a good training would be to listen to a lot of soloists, transcribe them and get the sound into your ear. thanks!
It depends on how well you know the soloist, and how much of the language they are using that you have practiced yourself. I sometimes recognize things other people play because I've spent time trying to play the same things before. Certain 'tricks' that people use are easy to hear once you've practiced it yourself. Also - I think one of the best things people can do is talk about it with the soloists after the gig/rehearsal/session whatever.. "Hey, what was that cool riff you did in this spot'... when you freeze frame these little moments, you can have a chance to make a musical response without the pressure of 'real time reaction'. Over time I think those things slowly seep in and you can react more quickly. Also - your last point about transcribing is absolutely correct :) Get the sound in your ear!
@@TimCollinsVibes Thanks for your fast reply! Your reply makes totally sense, and I'll tune into it. I was lucky enough to follow a masterclass with Brad Mehldau and it was incredible how he was catching all the phrases that the saxophonist was playing, but also incorporating those choices into his voicings, expecially with his top note of the chord!
Yeah he is one of the best at that...
Thanks
I sing telephone numbers to practise ear training AND help me remember the numbers. I decide in advance which scale/mode/chord I'm going to be using, zeros get a rest. I might make a tune up based on all my friends' telephone numbers and call it 'Friendship Song'. Before someone else says it, I guess with habits such as this, my song probably won't be very long... 😢 Well, anyway, MY telephone number makes a great tune! 😄👍
In a day and age where we don't tend to memorize phone numbers, that's a pretty great technique. I think I'm going to try this out.
@@darrenshearer1730 You'll never look back. When I have to remember my home telephone number, I just hear my song. It's in the mixolydian mode, just so you know.
@@br4648 I assume some tunes sound better in different modes? I think it might be a challenge if you have no 3's and a lot of 4's, but could be interesting. Do you ever add words to the songs?
@@darrenshearer1730 Yah, I choose a mode depending on the numbers available, so as you have surmised, my tel number has some 3s, 5s and 7s. I do actually make up lyrics to melodies I'm trying to memorise. The last one I did was for Billie's Bounce. I will basically do anything to try and add another dimension to music to help me to learn it on a deep level.
Hey this is really good. Keep it up plz
where's the APP??? get it done !....pleasre
Know any app programmers?
@@TimCollinsVibes not off the top of my head but I'll put some thoughts into it
I love jazz and this was very interesting! Congratulations! Also, you're pretty convinced you don't want perfect pitch... I mean, you're right, you can guess intervals and that stuff without knowing the pitch, but it's wonderful to feel different things when listening to different keys/chords. Like, if I play a song in F minor and next day I play it again in E minor, people won't realize, but I will give me completely different feelings, which is beautiful! I can experiment with keys. That's the only thing that people without perfect pitch should want!
How do you get to mastering that?
I just practiced it a lot.. it comes and goes.
I know because I have tried it many times and got it then lost it some time after.. Great job!
I find it comes back strong when I’ve just been listening to a lot of music. I tend to sing bass lines while listening to music.
Impressive
Show-off 😁
Awesome
Not very creative but useful is the following exercise: after being able to arpeggiate the chords of a tune: start singing the notes of each given chord in another order. Then add rhythm. Once you are comfortable with this, add diatonic or chromatic passing notes, while checking after a few bars, whether you are still in tune. A metronome can help with the rhythm.
That is a great exercise! You said it’s not creative but I disagree
great lesson Tim! Cool that you're putting out so much content lately, really like it. Also, your ears are incredible!! one five seveeeen. one three five seveeennn.
Yeah - I left the mistakes in there on purpose too ;) Glad you appreciate it! I'm trying to stick with one video per week.
AWESOME!!!!!!
4:29 that's the ball crusher right there...
Hold my bottle of scotch... I've got this
why are my comments being deleted?
Great ideas, very helpful, thanks
This video is definitely not for everyone
Why not?
The title clearly said it's for crazy people
Good but I do ear training by singing and using Solfege it makes life easier) Thanks for the vid though.
I also use solfege a lot and I believe in it 100% for diatonic melodies. But for singing things like Altered Dominant chords it isn’t really the way I think of them.. plus I learned it in school so it doesn’t fit with the title :)
Its trying to get lost in the weeds and then looking up to confirm you're 2 steps from the apple tree.
or the cliff ;)
3:35 you played "C F G B".
Hi Tim, nice video.
Your relative pitch skills are very impressive to say the least.
I have a question I would like to ask you.
When you change the C from being the minor third of an A minor chord, to let's say a major 7th of a DbMaj7 chord, do you establish the sound of the major 7th's root (Db) in your mind first and then use it as a reference point to sing the rest of the intervals?
Or do you think of going down a major third from the major 7th (C) interval to the perfect 5th (Ab), then down a minor third from the perfect fifth interval to the major 3rd (F), then down a major third from F to the root Db?
So simply put, do you establish the root in your mind first and then use it as a reference point to sing the remaining intervals or do you think of one interval after the other without establishing the root of the chord in your mind first?
Thank you.
Sooooo this is how you practice to perfect pitch
Can i be a PP and RP?
I'm sure you can - I know a lot of musicians that had perfect pitch but still had to work on the RP aspect of it.
at 3:35 he plays C E G B at the keyboard, but it sounds C F G B!! That's strange
Not sure what that is.. it does sound like an F - it’s possible I kind of slipped on the keyboard.. I vaguely remember that it was difficult to always look directly into the camera while playing the piano part. Of course, that doesn’t change the point of the video, which is to give you ideas for ear training. Sorry if I missed a note.
Check. Primacy my book
Mr. Blake! It's an honor to see you here. Thank you for the comment - We've never met, but I know who you are and the contributions you have made as both a performer and a teacher. Thank you!
@@TimCollinsVibes he hasn't said shit beside promote himself. what honor ? he's a sleaze bag
Umm i would like perfect pitch. What's wrong with that ?
Don't get me wrong, you can certainly make great use of perfect pitch if you have it. But many people with perfect pitch don't hear the "tonal gravity" of notes in the context of a scale or chord. They just hear the pitch and that's it - there's no context.
So I'm going to put this into guitar speak. I feel like my ears were at Black Sabbath Iron Man ability level and then I see this Yngwie Malmsteen of ears here sing an E#/Cb 9.5 b17 chord and now I'm just like shit... This dude could probably fart out jazz chords better than I can sing a major triad . And he's not even a Japanese twelve year old! You know, that kind of phenom you know is out there. But this is just cruel. Why is life so unfair?!