![]() ![]() Get used to how a flat 3rd sounds compared to a major, the same with flat 7ths, sharp 5ths, etc.learn how to add those notes in ways that work. I certainly can't always recognize 4 note chord types, but while playing I can tell when a flat 3rd would sound tasty in lieu of a major 3rd.Ī great exercise I used is playing piano in C major and getting used to using the black keys, which will all be sharp or flat notes in that key. Understanding how the different notes sounds is certainly a building block to soloing/improvisation, but you do NOT need a jazz-pro ear to do that. I feel this is phrased in a very daunting way. "if you can't reliably identify all the intervals within an octave and identify major, minor, diminished and augmented triads, as well as the basic 4-note chords (major 7, minor 7, dominant 7, minor-7-flat-5) by ear." I am sure there are way better ear training tools now! Back in music school days I practised daily with EarMaster and within a couple of months had gotten solid enough at recognising intervals and chords by ear that it made all the other music learning I did subsequently much much easier. It's a textbook though: you're going to have to invest some time in it to get the most out of it.īooks aside, in my view the #1 thing you can do to help your music theory understanding is to train your ear: if you can't reliably identify all the intervals within an octave and identify major, minor, diminished and augmented triads, as well as the basic 4-note chords (major 7, minor 7, dominant 7, minor-7-flat-5) by ear, knowing a bunch of rules about tone-tone-semitone-tone-tone-tone-semitone won't be all that useful. ![]() ![]() It presents theory in the context of trying to understand how to improvise over jazz harmonies - I found it very useful. We used Mark Levine's excellent "Jazz Theory Book" to cover the theoretical aspects. Back in the early 2000s I quit my engineering job and went to music school for a few years. ![]()
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