hey Tim. love your videos!! its a great pleasure to watch and practice with them. can u explain why do we must know some of these progressions? an example the descending 7th one (3rd)
Hello Tim! When I play a song for the first time, I can never remember on the spot which chord progressions to play with a given song. And as I listen to a song in my head, I often have difficulty and am unable to make out the bass notes to identify the chord progressions. So I and I suspect many of us (consciously or subconsciously) use the following musical forms/patterns to extemporaneously reconstruct and play the chord progressions on the fly while listening to a song in our head: 1. The last root note of the basic chord (not inverted chords) of a song is almost always the same note (+1 or more octaves below) as the final note of the song/melody (or final note of the opening stanza/verse). 2. When the melody progresses upward or downward chromatically, the root note of the basic chord is often 3 note intervals below (+1 octave) the melodic notes played on the main down beat (or sometimes immediately after the main down beat if the down beat melodic note is just a passing note). 3. Otherwise, the root note of the basic chord is either 1, 3, or 5 note intervals BELOW the melodic notes played on the main down beats (or immediately after the main down beat when encountering passing melodic notes). Try playing some traditional Christmas carols on piano in the key of C to easily confirm this simple correspondence between melodic and root notes. 4. Form the chords by playing the root note and the notes at 5, 8, and 10 note intervals above the root note. Add intervals 7 and 9 to jazz it up. I’ve been able to use just these four simple steps/rules to identify the chords to play any given song melody (if you’re playing the piano) by simply and literally watching and visually identifying the melodic notes I am playing with my right hand on the main down beats - a process I’ve come to call “playing by sight” as opposed to “playing be ear” - a process that requires little or no mental effort. If you’re not playing the melody and just playing the chords, you’ll need to “play by ear” and use your ear to identify the melodic notes as you sing the melody in your head using the solfege (do-re-me) method and apply the steps above to identify the root notes and chords.
Great. I’ve been doing somehh the hing similar with only triads in all inversions. I sing popular progressions from pop songs or any that spring to mind. Your ideas clarified some of my queries. Thanks.
Hi Tim I really appreciate your emphasis on auralization and I am in awe of your musicality. I can sing or internally most of the progressions you have demonstrated in this video. These progressions have clear tonality which makes them relatively easy for me. But I see a need to push my ear further. I would really like to be able to sing any of the four basic triads beginning on any pitch of a previously sung triad. I am convinced this will help me take my ear and musical pallet to the next level. If I remember correctly you did something like this on other video. Do you have any tips on how to accomplish this?
Yeah, I did that in my other video on ear training - that’s a pretty clear goal, so my advice is to just practicing doing it exactly as you described. Sing it, the check it at a piano and correct the mistakes.
Hey Tim I'm kinda in a predicament here. I play vibes for my high school's jazz band. Some of the horn players are new to soloing so we've been working on the blues. However, I really wanna move on to more advanced progressions but some of horn players don't practice so they still don't have the blues down. Can you possibly make a video on the basics on approaching soloing on a standard. I've been using Cantus Firmus and Chord Arppegios mostly for when I try outside of blues soloing. On blues I follow your pentatonic video.
Well - there's not really one way to approach playing over standards, it kind of depends on the tune. You could add more sophisticated harmonies to the blues progression though, as a means of trying to expand your vocabulary. One example would be to always play the "2" chord in front of any "5" chord (a dominant 7th chord). In an F blues, this means you can alternate between F7 and C-7 freely, even when the rhythm section is just playing F7.. you could also play "Blues For Alice" changes for your solo (might wanna tell the rhythm section to play those chords behind your solo).. Hope that gives you some ideas!
@@TimCollinsVibes I'm been using that does make things more interesting. I've been using pentatonic scales to solo over standards. It's been working well.
I think that's very good for ear development. But for jazz improvisation I would only change "do" to another note when an actual key change has taken place - I don't generally do it for secondary dominants, or for quick departures to another key. But I do think it's important to be able to do both.
@UCTyLzv%F0%9F%98%82uYEIbQRxYlf_hOp8Q I understand. In the end, the music will tell us what to do! When the song's Do changes, so will mine 😂 I appreciate the IMMEDIATE response, especially since this isn't a super recent video. Your channel is amazing! I'm doing a video on ear training soon and I will recommend this video as well as use the exercise an example, I hope that's okay! It'll be in portuguese, but I promise I won't say ANYTHING about you I wouldn't say about my mother in law 😁
How are you able to know the numbers to sing when you change between chords (ie between scales of the chords) or are you just using a single scale when singing all the numbered notes.
thank you for video but im a bit confused. i do chromatic solfege but if i were to do the 2 5 1 in numeral, shouldnt i do ii: 1 b3 5 b7, V: 1,3,5. b7. I: 1,3,5,7?
for the solfege, it doesn't make sense to change the numbers for every chord - the whole point is that you know where you are in a given key center. By definition, the '2' chord is built on the 2 ('re'). If you are singing a Dmin7, G7, Cma7, you aren't changing keys on every chord. The whole thing is in C. So it would be: ii: 2-4-6-8, V: 5-7-2-4, I:1-3-5-7.
in I-VI7-II7-V progression you sing 1-3-5-7, 6-1-3-5, but the C in A7 is C#, so not the one of anything but some C# key. How do you reconcile that so you don't drill a C# as a "one" in C?
To sing secondary dominants (like an A7 in the key of C), you have to just remember that the C# is there. I only think of the roots of each chord as being in the main key - hence 1-6-2-5.. but on top of each of those I sing a dominant 7th chord sound. Another way to think of it would be to sing 1-3-5-7, 6-#1-3-5...
Wow...Thanks Tim, this is both sooooo helpful...and depressing at the same time. Helpressful? Yep, really helpressful.
I have found this channel yesterday and I gotta say...
THIS IS A GOOOLDMIINE!
You are great, these are crazy!
Yeah, I agree with Steve Crain from 3 years ago. Some combination of “wow” and “no wonder I suck”.
hey Tim. love your videos!! its a great pleasure to watch and practice with them. can u explain why do we must know some of these progressions? an example the descending 7th one (3rd)
If you know the chord progressions, it’s easier to learn tunes faster and hear them with less effort.
Hello Tim! When I play a song for the first time, I can never remember on the spot which chord progressions to play with a given song. And as I listen to a song in my head, I often have difficulty and am unable to make out the bass notes to identify the chord progressions. So I and I suspect many of us (consciously or subconsciously) use the following musical forms/patterns to extemporaneously reconstruct and play the chord progressions on the fly while listening to a song in our head:
1. The last root note of the basic chord (not inverted chords) of a song is almost always the same note (+1 or more octaves below) as the final note of the song/melody (or final note of the opening stanza/verse).
2. When the melody progresses upward or downward chromatically, the root note of the basic chord is often 3 note intervals below (+1 octave) the melodic notes played on the main down beat (or sometimes immediately after the main down beat if the down beat melodic note is just a passing note).
3. Otherwise, the root note of the basic chord is either 1, 3, or 5 note intervals BELOW the melodic notes played on the main down beats (or immediately after the main down beat when encountering passing melodic notes). Try playing some traditional Christmas carols on piano in the key of C to easily confirm this simple correspondence between melodic and root notes.
4. Form the chords by playing the root note and the notes at 5, 8, and 10 note intervals above the root note. Add intervals 7 and 9 to jazz it up.
I’ve been able to use just these four simple steps/rules to identify the chords to play any given song melody (if you’re playing the piano) by simply and literally watching and visually identifying the melodic notes I am playing with my right hand on the main down beats - a process I’ve come to call “playing by sight” as opposed to “playing be ear” - a process that requires little or no mental effort.
If you’re not playing the melody and just playing the chords, you’ll need to “play by ear” and use your ear to identify the melodic notes as you sing the melody in your head using the solfege (do-re-me) method and apply the steps above to identify the root notes and chords.
Great. I’ve been doing somehh the hing similar with only triads in all inversions. I sing popular progressions from pop songs or any that spring to mind. Your ideas clarified some of my queries. Thanks.
oh, this is so much fun!! Thanks!
Thanks for this lesson.
It's really good
Thanks again
A love your work
Thank
Great lesson, subscribing now!
very good channel
Thanks for posting!
How do we get this good? What would u recommended for us? A book maybe?
Again ,, thanks for sharing
Thanks a lot for making this...
Hi Tim
I really appreciate your emphasis on auralization and I am in awe of your musicality.
I can sing or internally most of the progressions you have demonstrated in this video. These progressions have clear tonality which makes them relatively easy for me. But I see a need to push my ear further.
I would really like to be able to sing any of the four basic triads beginning on any pitch of a previously sung triad. I am convinced this will help me take my ear and musical pallet to the next level. If I remember correctly you did something like this on other video. Do you have any tips on how to accomplish this?
Yeah, I did that in my other video on ear training - that’s a pretty clear goal, so my advice is to just practicing doing it exactly as you described. Sing it, the check it at a piano and correct the mistakes.
Tim Collins Thanks. The ear rules!
Hey Tim I'm kinda in a predicament here. I play vibes for my high school's jazz band. Some of the horn players are new to soloing so we've been working on the blues. However, I really wanna move on to more advanced progressions but some of horn players don't practice so they still don't have the blues down. Can you possibly make a video on the basics on approaching soloing on a standard. I've been using Cantus Firmus and Chord Arppegios mostly for when I try outside of blues soloing. On blues I follow your pentatonic video.
Well - there's not really one way to approach playing over standards, it kind of depends on the tune. You could add more sophisticated harmonies to the blues progression though, as a means of trying to expand your vocabulary. One example would be to always play the "2" chord in front of any "5" chord (a dominant 7th chord). In an F blues, this means you can alternate between F7 and C-7 freely, even when the rhythm section is just playing F7.. you could also play "Blues For Alice" changes for your solo (might wanna tell the rhythm section to play those chords behind your solo).. Hope that gives you some ideas!
@@TimCollinsVibes I'm been using that does make things more interesting. I've been using pentatonic scales to solo over standards. It's been working well.
Remarkable. Maybe someday.
I'm loving this stuff!....... Now, I got no excuse not to get this in my ears!.......👍🏼
Hi Tim. Do you feel like singing the chords with movable do treating every chord as 'Do' is detrimental to ear development?
I think that's very good for ear development. But for jazz improvisation I would only change "do" to another note when an actual key change has taken place - I don't generally do it for secondary dominants, or for quick departures to another key. But I do think it's important to be able to do both.
@UCTyLzv%F0%9F%98%82uYEIbQRxYlf_hOp8Q I understand. In the end, the music will tell us what to do! When the song's Do changes, so will mine 😂 I appreciate the IMMEDIATE response, especially since this isn't a super recent video. Your channel is amazing! I'm doing a video on ear training soon and I will recommend this video as well as use the exercise an example, I hope that's okay! It'll be in portuguese, but I promise I won't say ANYTHING about you I wouldn't say about my mother in law 😁
How are you able to know the numbers to sing when you change between chords (ie between scales of the chords) or are you just using a single scale when singing all the numbered notes.
You are crazy my friend. 😁
thank you for video but im a bit confused. i do chromatic solfege but if i were to do the 2 5 1 in numeral, shouldnt i do ii: 1 b3 5 b7, V: 1,3,5. b7. I: 1,3,5,7?
for the solfege, it doesn't make sense to change the numbers for every chord - the whole point is that you know where you are in a given key center. By definition, the '2' chord is built on the 2 ('re'). If you are singing a Dmin7, G7, Cma7, you aren't changing keys on every chord. The whole thing is in C. So it would be: ii: 2-4-6-8, V: 5-7-2-4, I:1-3-5-7.
in I-VI7-II7-V progression you sing 1-3-5-7, 6-1-3-5, but the C in A7 is C#, so not the one of anything but some C# key. How do you reconcile that so you don't drill a C# as a "one" in C?
To sing secondary dominants (like an A7 in the key of C), you have to just remember that the C# is there. I only think of the roots of each chord as being in the main key - hence 1-6-2-5.. but on top of each of those I sing a dominant 7th chord sound. Another way to think of it would be to sing 1-3-5-7, 6-#1-3-5...
@@TimCollinsVibes Thanks. Makes sense. Great vids, btw. Thanks for making them and sharing them.