Musician Transformation Training SONG SOLIDITY

Transcription

1 Musician Transformation Training SONG SOLIDITY This training will cover key techniques and insights that will ensure you get the most out of the Song Station program, which covers Song Solidity concepts. Every strategy you ve learned so far leads to song mastery and by learning the principles herein, you ll speed up the process it takes to pick up any song. From melody and bass determination to passing chords and key signature identification, this resource will equip you with the knowledge to grasp it all! -Pg 1-

2 Introduction In this guide, we ll start by discussing techniques and strategies that will help you find the key of any song quickly. Then we ll turn to melody and bass pattern determination. We ll review diatonic chords (which should be your first option after finding the bass), and end by covering passing chords and other nuances you ll find in songs. Common Problems 1. Not knowing how to find the key of a song: You can know all your scales, the number system, basic and advanced chords, and even patterns... but if you can t find the key of a song quickly, none of that will matter when it comes to playing by ear. Finding the key is like the battery in your car. You can have the best engine, the best anti-lock braking system, hundreds of horsepower, and every amenity under the sun... but if your car won t start, all that stuff is useless. Finding the key to a song gives you a reference point to apply all the stuff you ve learned to... and that s what we ll turn to first in this guide. 2. Not understanding the importance of melodies and how they work with chords: Without melodies, many songs would sound almost identical because chords and patterns are recycled over and over in many tunes. Melodies (and rhythm, among other things) help to differentiate songs. I could play the same 4 chords repeatedly and by switching the melody, I could turn those same 4 chords into dozens of -Pg 2-

3 songs. That s how important melodies are. But more importantly is their ability to point you to the right chords because a harmonizing chord will NEVER clash with the melody. In other words, the melody note will usually be in the chord used to harmonize that melody (and knowing this narrows down the chords you re going to try). By working on this skill, you ll cut your song learning curve in half. 3. Not focusing on what the bass player is doing FIRST: Many musicians try to immediately go for what they hear the piano player doing. This is not a bad idea... it s just not the FIRST thing you do. As an ear player, you want to secure in your mind the big picture pattern first. And the only way to know the patterns at work is to listen to what the bass player is doing because they are carrying the root notes of each chord. Once you figure out what they are doing, then you can start applying chords and relying on the melody to get the right inversions and voicings of the chords. After completing the Musician Transformation process, these will be problems of the past! Let s get to work! Finding The Key To Any Song As I said above, developing the skill to find the key of a song is ESSENTIAL. Everything starts here when it comes to putting all your skills to use. There are 2 primary ways to do this. 1) Intuitively 2) Analytically I ll cover both below. FI DI G THE KEY OF A SO G I TUITIVELY Keep in mind, this method is very intuitive and sensorial but I ll try my best to describe it here on paper. At any given time, there is one note you can press down while listening to a song and it will feel like home. It will sound like a common tone you can hold down during the entire song. In fact, even though the song is progressing from chord to chord, pattern to pattern, this ONE tone will never clash with any of the chords, regardless of what s going on in the song. -Pg 3-

4 If you had to close your eyes and imagine the very last chord of the song... the chord that propels the audience to their feet, clapping and cheering (because they know it s the last ending chord) --- that s most likely the key of the song, the common home base tone we re looking for. If you re not good at finding the key of a song, the good news is you can work on it DAILY while driving in your car --- no piano needed. Actually, I ve always recommended humming the key with your own voice before jumping on the piano to figure out what key it is. A OTE ABOUT PERFECT PITCH: You don t need perfect pitch in order to do this. In fact, only 1 in 10,000 people have perfect pitch. (That s the ability to hear a tone and just know what it is without any musical reference like a piano or relative note). I REPEAT... you do not need this skill. When you re humming, who cares what note it is. That s not important at the moment. What s important is that you re humming the TRUE KEY and that you have it stuck in your head. Then, when you get to the piano, you can easily hit a few notes until you ve determined that key you re humming. Essentially, you re matching what s in your mind (or what you re humming) to one of the 12 unique notes on the piano. That s how 99% of musicians do it. A FEW TIPS: The key of the song is essentially the first tone of the scale, the tonic. That s what we re looking for. We re looking for a scale to place this song in so we can work our magic with the number system, chords, and patterns, etc. Without a reference point (the key ), we re lost. Usually songs begin on the 1-chord and since the 1-chord is the IS THE KEY WE RE IN, we can try to figure out the first chord of the song and that may lead us to the key. (Note: Don t confuse the term 1-chord with the first chord of the song. Those AREN T THE SAME THING. When I say 1-chord, I m talking about the first chord of any given scale. Now, usually the 1-chord is also the first chord of the song but not always. Some songs start with a pickup on the 5- chord, which leads to the 1-chord. But as a general rule, the 1-chord will usually begin the song). Usually songs end on the 1-chord (a.k.a. the tonic ). But just like the tip above, this isn t always the case. Some songs may end on a major chord off the 6 th tone (very pretty way to end a song). Some songs may end on the 4-chord. But as a general rule, most will end with a feeling of peace... rest... tension-free... home. And that s what the 1-chord provides. If you can try to hum any of these chords (the first chord of the song, the last chord of the song, or any chord that feels like home, ), then you have a good chance of finding the TRUE key. -Pg 4-

5 All songs wrap around to the beginning (usually after the end of a verse or chorus). If you can hum the first chord that s played when the song returns to the beginning, that s probably the key as well. As you can see, there s many ways to do this. You can rely totally on feeling and just go for it or you can strategically pinpoint certain chords and moments in a song (beginning, ending, wrap-arounds, after verses) that are notorious for being the 1-chord, or the key you re in. THE MI OR CHORD TRICK How to confirm you ve got the right key, when in doubt. I take credit for this trick because I ve never seen anyone else teach it. I got the idea in the shower one day and it WORKS. I call it the minor chord trick. Before I explain it, though, let me tell you why it s important. In the beginning, if a musician is wrong about the key, I find there are usually 1 of 2 keys they are usually humming erroneously. If they are humming anything else other than these two commonly mistaken tones (which are still WRONG but not AS wrong), they are probably tone deaf. You gotta be IN THE BALLPARK (at least) for this minor chord trick to work. When I say in the ballpark, that means your guesses were good but not quite the REAL key of the song. I find people are usually humming the 3 rd of the key... or the 5 th of the key. And this makes perfect sense, if you think about the 1-chord. Let s say the REAL key was C major. And as we learned above, there are certain chords that can point us in the right direction, namely the first or last chord of the song... or any moment where the song seems to wrap back around to the beginning. Since the song is in C major, that chord would be some type of C major chord. Easy so far right? Well, here s the problem: -Pg 5-

6 Instead of humming the keynote C, some first-timers skew towards E (the 3 rd tone of C major) or G (the 5 th tone of C major). And the funny thing is, these tones will really fool ya. Heck, they may feel like they work since they are in the C major chord. In fact, if you re used to singing in a choir, you probably sing these notes, depending on whether you re a soprano, alto, or tenor. The key is to find the REAL tonic... the real key center. (Oh, these are just fancy ways to say the key of da song! ) So, to make sure you have the absolute correct tone, we employ this MINOR CHORD trick I came up with to test these notes. Here s how it works: STEP #1: If you think you ve pinpointed the right key of the song, figure out what minor chord has this note on top (in root position). EXAMPLE: I think G is my key. What minor chord has G on top? Answer: C minor (C + Eb + G). Note: The minor chord should always be in root position. That means, if you re playing a C minor chord, C will always be the lowest note.) STEP #2: After you ve determined the minor chord that puts the note you re testing on top, you re pretty much done. The other two notes in this minor chord are the tones you should test your tone against. If you re note is truly the RIGHT TONE, the other two notes in this minor chord should sound like garbage! If any of the other two notes sound better or more harmonious with the song than the note you ve picked, jump ship! That means the minor chord trick has determined you didn t have the right key all along. Better yet, it has given you the right key. -Pg 6-

7 EXAMPLE: I think F is my key. I ve hummed it and tapped it repeatedly as I listen to the song and it seems to work. It seems to be that common tone you always talk about Jermaine. So now, I need to determine which minor chord has F on top. The answer is Bb minor (Bb + Db + F). ow, I will proceed to press down Db to hear if it sounds like the key of my song. ext, I will press down Bb to hear if it sounds like the key of my song. If I have, in fact, chosen the right key, Db and Bb should sound horrible and way off. If any of them sounds better, they are probably the TRUE KEY. TIP: Both minor and major triads have the same notes on top so if you re a little slow at figuring out minor, try figuring out the major first. Bb major and Bb minor both put F on top. C major and C minor both put G on top. So if you re better at figuring out the major chord that puts your note on top, do that. HOWEVER, when it comes time to test against the other two notes, you need to use the notes from the MINOR chord (not the major chord you may have used to help you out a little bit). THIS IS A MI OR CHORD TRICK. I hope that makes sense. WHY DOES THE MI OR CHORD TRICK WORK? Quite simple. Essentially what it does is make sure you re not accidentally choosing the 3 rd or the 5 th of the true key. Let s say the true key was C and because I lack experience, I am accidentally humming E. At least I m in the ball park since E is the 3 rd tone of C... but this ain t good enough. There is only ONE TRUE KEY and if you get it wrong, you ve messed up everything that follows. (And as you do this more, you ll know you ve got the right key... you ll just feel it intuitively. But in the beginning, rely on my tips and tricks). So back to the example... If I ve accidentally chosen E (because I don t know any better), the minor chord trick will eventually correct me. #1 So I ask myself, what minor chord puts E on top? If I m a little slow with my minor chords, I could also ask myself what major chord puts E on top since the highest notes are the same for both major and minor chords. The answer is A minor. (even though I may have used A major to help me find the highest note, I must use the notes of A minor to test with or this trick won t work). #2 Since the A minor chord is A + C + E, and I ve already chosen E as my original key, I need to test my answer against C and A. Now think about it... E is the 3 rd tone of C right? -Pg 7-

8 And because the 3 rd is one of the most mistaken tones, basically the minor chord trick is pointing me to C, which could be the TRUE key (and according to this example, IT IS!) E is also the 5 th of A. Had I mistakenly hummed the 5 th of the true key (which is common as they share many characteristics), this minor chord trick would have unveiled A as the true key. What if I m humming the correct key all along? No problem. The minor chord trick will confirm that you re right. Back to my example above... Let s say I was humming C all along and it was indeed the correct key. By finding the minor chord that puts C on top, it would lead me to F minor. The notes of F minor are: F + Ab + C. Hitting Ab when a song is really in C major will sound horrible. Ab will fail the test. Hitting F won t sound as bad as Ab but it will still not work and it should be obvious to your ears. F fails too. By testing Ab and F, you re at least making sure you haven t fallen victim to the most common mistakes. If neither Ab nor F works, your answer has passed the test. And even before you apply my minor chord trick, if you held C down and it sounded good throughout the entire song if you hummed it and it never clashed, and if you had unshakeable confidence that it was the key, you were already destined to be right. EXERCISE: Answer the following questions concerning the minor chord trick. #1 You believe a song is in F major. What minor chord are you going to use to test against your answer? #2 You believe a song is in A major. What minor chord are you going to use to test against your answer? Answers: #1 Bb minor (Bb + Db + F) #2 D minor (D + F + A) #3 C# minor (C# + E + G#) -Pg 8-

9 #3 You believe a song is in G# major. What minor chord are you going to use to test against your answer? EXERCISE: Try to figure out the keys of the following songs on youtube (tip: It s best to first hum the common, home base, tone that comes to you... then attempt to find that tone on your piano. If in doubt, apply the MINOR CHORD trick to it). #1 Jesus Is Love: I think the key is: #2 Amazing Grace: Answers: #1 Ab major #2 C major #3 G major I think the key is: #3 Man In The Mirror: I think the key is: FI DI G THE KEY OF A SO G A ALYTICALLY Since you now understand diatonic chords (from Pattern Paradise), you know that certain chords are most likely to occur on certain tones of the scale. 1 st tone Major chord: In the key of C, a C major chord is naturally created off the 1 st tone of the scale. 2 nd tone Minor chord: In the key of C, a D minor chord is naturally created off the 2 nd tone of the scale. -Pg 9-

10 3 rd tone Minor chord: In the key of C, an E minor chord is naturally created off the 3 rd tone of the scale. 4 th tone Major chord: In the key of C, an F major chord is naturally created off the 4 th tone of the scale. 5 th tone Major chord: In the key of C, a G major chord is naturally created off the 5 th tone of the scale. 6 th tone Minor chord: In the key of C, an A minor chord is naturally created off the 6 th tone of the scale. 7 th tone Diminished chord: In the key of C, a B diminished chord is naturally created off the 7 th tone of the scale. -Pg 10-

11 So if you were at your piano and you happened to pick out an A minor and D minor chord in a song, there s a high probability this song is in the key of C major. Here s why... If we plotted out every major key and the chords that are naturally created in each of those keys, you won t find many other keys with A minor and D minor chords in them. In fact, only ONE other key has this combination: F major. F major: 1 st tone F major 2 nd tone G minor 3 rd tone A minor 4 th tone Bb major 5 th tone C major 6 th tone D minor 7 th tone E diminished So from the analytical point of view, you have narrowed your choices down to C major and F major. Obviously, there will be many other chords in the song and if you keep going, you may run into a G major or G dominant 7 chord. Since G is the 2 nd tone of F major and will usually be minor, this gives us even more proof that we re in the key of C (but it doesn t seal the deal as the 2 nd tone is known to use a major or dominant chord at times to provide more fuel to the 5 th tone of the scale). But let s say a C major chord comes next and it feels like a chord of rest... it feels stable. If you could end your song on that chord and the audience would know it was the end of your song, it s probably the 1-chord. If this is the case, C major is the key. If C major sounds really unstable and like it needs to resolve somewhere, it s probably the 5-chord of F major. If that s the case, it should resolve to F major and that s where you ll get the same home and tension-free feeling I described above. This, my friend, is the analytical game. On the next page, I ve conveniently listed every key and the diatonic chords naturally created in each of those keys. Study this chart and we ll do a few exercises to see just how well you understand the analytical side of determining the key signature. -Pg 11-

12 THE DIATO IC CHORD MATRIX: 1 st tone 2 nd tone 3 rd tone 4 th tone 5 th tone 6 th tone 7 th tone C major C maj D min E min F maj G maj A min B dim F major F maj G min A min Bb maj C maj D min E dim Bb major Bb maj C min D min Eb maj F maj G min A dim Eb major Eb maj F min G min Ab maj Bb maj C min D dim Ab major Ab maj Bb min C min Db maj Eb maj F min G dim Db major Db maj Eb min F min Gb maj Ab maj Bb min C dim Gb major Gb maj Ab min Bb min Cb maj Db maj Eb min F dim B major B maj C# min D# min E maj F# maj G# min A# dim E major E maj F# min G# min A maj B maj C# min D# dim A major A maj B min C# min D maj E maj F# min G# dim D major D maj E min F# min G maj A maj B min C# dim G major G maj A min B min C maj D maj E min F# dim In this small chart lies every diatonic chord you ll ever play for every major key! Here are some tips to keep in mind: 1) If you ve managed to pick out a single major chord in a song, using the analytic approach, there are three major keys the song is most likely in (including the key note of the major chord you picked out). Example: If you ve picked out a Bb major chord, there are 3 major keys this Bb major chord could have come from. #1 Bb major You could have hit the jackpot and picked out the 1-chord, which is the key you re in. #2 F major The Bb major chord you ve picked out could be the 4-chord in the key of F major. #3 Eb major The Bb major chord you ve picked out could be the 5-chord in the key of Eb major. Note: This is not a game of black and white. Major chords do appear on tones or degrees other than the 1, 4, and 5. Since playing by ear is a game of trial and error, you ll try these keys first. If they don t work, you ll move on. 2) The same rule above applies to minor chords. If you ve managed to pick out a single minor chord in a song, there are three keys that minor chord could belong to. For example, C minor could belong to Bb major as the 2-chord... Ab major as the 3-chord... or Eb major as the 6-chord. -Pg 12-

13 3) The more chords you re able to pick out, the better you ll be. If you happen to pick out two different minor chords in a song, now you ve really increased your chances of landing the right major key because there will only be TWO keys with both of those minor chords in them. Go ahead, study the chart above and see if you can find the same exact minor chords present in more than 2 different keys. You won t! 4) And if you can pick out 3 minor chords, you ve just narrowed it down to ONE KEY. No keys have the same exact minor chords in them. For example, there s only one key with D minor, E minor, and A minor chords. It s C major. Try to find another key with this same combination. You won t. Now let s do an exercise: EXERCISE: WHAT MAJOR KEY AM I I? Chord 1 Chord 2 Chord 3 What Key Am I In? Bb minor F minor C minor D major C major A minor C major F major G major B minor D major E major F minor C minor Eb major I have done an amazing video tutorial on how to find the key to any song at Be sure to check it out. Answers: #1 Ab major #2 G major #3 C major #4 A major #5 Ebor Ab major DETERMI I G THE MELODY & HARMO Y TO A SO G Often times, the melody can provide a roadmap for what chords to play. The melody will never clash with the chord. In fact, usually the melody of the song is kept up top. (In some circumstances, it doesn t matter... but most of the time, the melody is preserved as the highest note of the chord). So just by knowing the HIGHEST OTE, this will rule out many chords. -Pg 13-

14 For example, if I m in the key of C major and I figure out the melody of a song starts on E (which is the 3 rd tone of the scale), there are only so many chords that immediately come to mind: Because I know a C major chord is most likely to start this song (because most songs start on the 1 st degree of the scale), I m automatically going to assume that this melody note E is simply the E from my standard C major chord. In other words, if the C major chord is C + E + G, I m just going to invert (rearrange) this chord so that E is on top --- G + C + E. If it works, I m good to go. If it doesn t work, I ll say to myself: What other commonly occurring chords in this key have E in them? E minor (E + G + B: the chord which naturally occurs on the 3 rd tone of the scale anyway... see CHORDAL COMMA D section). I can rearrange this chord to put E on top (G+B+E). F major 7 (F + A + C + E): This chord already has E on top so if my other chords don t work, I can certainly try this one. -Pg 14-

15 D minor 9 (D + F + A + C + E): If you paid attention to the CHORDAL COMMAND section, you ll remember that all bigger chords are composed of smaller chords. So if a major chord usually works, there is a corresponding minor chord that will probably work too because they pretty much share the same notes except for the bass. In this case, this D minor 9 chord is basically the previous F major 7 chord with D in the bass. But you get the point. The melody can provide clues for the chords (harmony). PLAYI G MELODY-I TE SIVE SO GS When it comes to playing traditional hymns, they are very melody-intensive. Everything is based on the melody. In fact, almost every melody note gets a chord underneath it. Most of these songs were written to be sung. That s why they are arranged this way. Sopranos sing one note. Altos sing another. And tenors sing the bottom. As musicians, we re basically just playing what the singers would normally sing when we play hymns. On the other end, when it comes to contemporary songs where we don t play a chord with every melody note (and there s more of a sense of chord progressions and movements at work), the game is totally different. But first, let s talk about this idea of harmonizing melodies how to determine and put chords under your melodies. -Pg 15-

16 How to harmonize melodies: Let s say you re able to pick out a few melody notes to a song. The diagram on the left tells you what chords are most likely to harmonize those melody notes (while keeping the melody notes on top). OTE: These are different from the diatonic chords. These are harmonizing chords. These chords allow you to provide harmony to a melody. In fact, if you re a choir director, you could use this information to give different parts to your choir members. This diagram illustrates the entire C major scale being harmonized. Pay close attention to the highest note. The melody note C is harmonized by a C major chord in first inversion (E + G + C). Notice this inversion keeps C, the melody, on top. That is key! The melody note D is harmonized by a D minor chord in first inversion (F + A + D). The melody note E is harmonized by a C major chord too, but this time in second inversion (G + C + E). The melody note F is harmonized by an F major chord in first inversion (A + C + F). The melody note G is harmonized by another C major chord in root position (C + E + G). The melody note A is harmonized by F major, but this time in second inversion (C + F + A). And lastly, the melody note B is harmonized by G major in second inversion (D + G + B). -Pg 16-

17 Determining bass of the song With the last technique, you were looking at the highest note and drawing potential options from it. With this technique, you re clueing in on the bass instead (the lowest note). Well, I shouldn t say instead. These techniques go together. Here s how I do it... If I ve already heard the pattern before and have played it a million times, my brain immediately says OTHI G EW HERE. At that point, I ll figure out the key and proceed to play the pattern. Believe it or not, this happens a lot. You would think just because a song is new that perhaps the songwriter or composer came up with something creative. IT IS RARELY THE CASE. And some genres are worse than other. Gospel, R&B, and pop music do this a lot. I mean, all genres do but I find R&B singers all sing pretty much the same patterns. I m always surprised why listeners don t get tired of hearing different lyrics over the same chord patterns... over and over. But I guess that s great for the industry! Easy money. So, most of the time, the patterns are ones I ve heard and played before. In those cases, I don t even have to figure out the bass. Something clicks in my mind and I already know what s going on. WAR I G: You won t start out this way. The next element (E.E. Ear Efficiency ) will help out. But really, it s just a matter of taking the time to stop and listen. When you DO learn something, stop and listen to how it really sounds. Think in your head about other songs that sound like this. Try to sing other melodies over the same chords and see if it works. Just take the time to think about the chords as COLLECTIONS and not as separate chords. For example, since we ve discussed progressions in past modules and how they commonly end songs, it would do you well to take the same progression (like a D minor 7 going to a G7 to a C major 7 ) and simply sing as many song endings while playing these same chords. -Pg 17-

18 Examples: Her fleece was white as snow [play in rhythm with this] Happy Birthday to you (ending) [play same in rhythm] ext time won t you sing with me [play same 2-5-1] Was blind, but now I see [play same 2-5-1] Than silver and gold ( Silver and Gold, Kirk Franklin) [play same 2-5-1] Do not pass me by (Pass Me Not O Gentle Savior) [play same 2-5-1] All through the town (The wheels on the bus) [play same 2-5-1] You get the point. So when I hear the same types of endings over and over, it s not that my ear is better than yours... it s just that I m now conscious of the fact that these are the same chord patterns at work regardless of the style of the song... regardless of the genre... regardless of the rhythm or tempo. And that s where you want to get. But if you can t hear the patterns in your head yet, you can always try to pick out each bass note, one by one. This will work in the beginning. TIPS O PICKI G OUT BASS OTES 1) Try to establish the key of the song or chord pattern first. Use the strategies we ve already covered to pinpoint the key. Once you do that, you ll have a major scale to work within. Of course, you want to think in terms of numbers with the tones of the scale. 2) As you re picking out bass notes, don t go at it randomly. Think about the tones of the scale you ve determined. Think about circular movement and how the 1 usually moves to the 4... and how the 2 usually moves to the 5... and how the 3 usually moves to the 6, and so on (...it s a huge circle!) Pg 18-

19 3) Don t be discouraged. If you have to rewind the tape, do it. There are many tools nowadays that will slow down music. In fact, if you open any mp3 file in Apple Quicktime (free), you can go to audio/video (A/V) controls and there is a setting for playback speed. You can actually slow it down to less than 25% of the original speed. If you re a Gospel Music Training Center member, you have access to the Hear and Play Song Learner tool. This also has similar functionality (and more, including being able to see the notes of the song light up on the screen!) CO ECTI G BASS OTES TO PATTER S Once you have a collection of bass notes picked out, you ll probably see a pattern at work. Maybe it s a circular pattern (i.e. notes moving in the circle of fourths/fifths direction ), as discussed above. Maybe the bass pattern is moving up the major scale, one degree at a time (stepwise motion). If you didn t take my advice and find the key of the song FIRST, the bass notes you ve picked out should hint at what key you re in. For example, if you pick out these notes: F > A > D > C > F > Bb (Keep in mind these are separate bass notes you ve picked out from listening to a record). Already, in my mind, I m leaning towards this song being in F major just because it is the first chord used (and every tone is in the F major scale). -Pg 19-

20 But it could also be in Bb (after all, the last note is Bb and all the notes are in the Bb major scale, too). This isn t always the case though so you can t always rely on JUST this method. (It s impossible to avoid using your ear ). But, you can ask yourself these questions to confirm your answer: 1) Are the notes I picked out from the F major scale? 2) Are there any notes that aren t in the F major scale? And if they aren t, are they important chord tones or rest points in the song. PASSI G CHORDS A D OTHER UA CES If they are just passed over really fast, then this pattern can still be in F major. Songs usually have passing tones, which help to move us from one chord to another. And these passing tones aren t always from the SAME major key. Often times, these passing tones are half steps above or below the next bass note, which is usually IN THE SCALE. So if I m in the key of F and notice the bass pattern: F > A > Eb > D... well the F, A, and D are surely tones of the F major scale... but where did the Eb come from? It s not in the scale. ANSWER: It s a passing chord to make our pattern more interesting. Since Eb is so close to D, it provides a nice push to D. Therefore, Eb shouldn t be seen as an important chord tone... especially if it is only used for a split second... the main chord tones are still from the key of F and that s what matters. I think a lot of people get confused when they are picking out bass notes because they find notes from all over the place (and that s perfectly fine). If songs only used the 7 notes from the same scale, THINGS WOULD BE BORING. You have to borrow from other keys and add passing and neighboring tones and chords to spice things up. As musicians, though, we don t get confused. For example, we still see this as a in the key of C: D minor 7 > G7 > Db major 7 > C major 7 -Pg 20-

21 Of course, D is the 2 nd tone of the scale, G is the 5 th tone of the scale and C is the 1 st tone of the scale (thus pattern) but where does the Db in between come from? It s not in the C major scale! You re right. But it s used as a passing chord to bring us one half step down to C major 7. So instead of going from G7 directly home to C major 7, we stop at the gas station on the way to get some more FUEL. That Db major 7 chord just provides creative fuel, even though we could have surely gotten home on the tank of gas we had. So when you re picking out bass notes and relating them to patterns, you re looking at the BIG PICTURE... not necessarily every little note that pops up. THE BIG PICTURE IS THE MAI PATTER AT WORK. 3) Don t wanna confuse you but let s go back to our example in F major for this last question I d ask myself. I d ask: If I press down any F on my piano while listening to this song, does it fit? Does it sound like it would be the key? As we discussed earlier, when you find the key of a song (using your ear), there s just this level of confidence when you hit the right KEY versus a close match or the wrong key. The real key can usually be sounded over just about any chord or verse or section of the song and it ll work. Again, it s more about the big picture. I did a video tutorial about this at These are just a few tips to help you in this area... APPLYI G CHORDS TO BASS OTES 80% of the time, the diatonic chords you ve learned in past modules will work. That is, if your bass note moves from the 1 st tone of the scale to the 6 th tone, and from the 6 th tone to the 4 th tone... most likely, you be playing a major chord on the 1 st tone, a minor chord on the 6 th tone, and a major chord on the 4 th tone. You ll need to use your ear to figure out what kind of major or minor chords are at work. It could be anything from a major triad to a major 7 th or major 9 th --- a minor triad to a minor 7 th, minor 9 th, or minor 11 th. If you aren t totally obsessed with finding the exact voicing and you re sure it s a major chord, feel free to pull out your favorite voicing and most of the time, it will sound just fine. As long as you got the right quality (major vs minor vs augmented vs diminished), you ll be fine. -Pg 21-

22 There are times when diatonic chords are substituted for other chords. Maybe instead of playing a minor chord on the 6 th tone, the composer decides to put a major chord there or perhaps a dominant chord. Maybe even an altered chord (like a dominant 7 #9 #5, one of my favorites). That s fine! You ll just have to use your ear to know that: 1) This isn t a diatonic chord here so I need to get to work figuring out what it really is 2) This is probably a (choose quality): major minor dominant diminished augmented altered chord. It s perfectly fine to go down the list until you ve determined the right chord. Another tip: USE THE MELODY! The bass got you to the promise land. Now the melody can help you further filter out what chord might be needed. If you ve determined your melody is D, try to think of all the different chords that might go with this bass note that have D in them (and better yet, D on top). BUILD YOUR REPERTOIRE Your growth should be exponential in that the more you learn songs and play patterns, you should be adding them to your collection and able to recognize them when they occur again. That s why the number system is so important. Because as you learn songs in all 12 keys, without the number system, things can get very fuzzy and you may not realize you already know the pattern in one key that you re trying to learn in another. That s the limitation of thinking in terms of letters. Letters confine you to one key. The number system is only in one key --- the universal key. Regardless of whether you re playing in Bb major or D major, by thinking in terms of numbers as you re playing songs, you ve just taken these keys from their respective worlds and put them into a universal galaxy where they can be related and compared to one another. Too few musicians think this way and it ends up with them not knowing and harnessing the musical power they really have. -Pg 22-

23 CO CLUSIO : Remember: Notes create scales. Scales create chords. Chords create progressions. Progressions create songs. This is the roadmap for an ear musician. You ve gotten your scales and numbers down in Fundamental Factory. You ve gotten your chords down pat in Chord County. You ve gotten your progressions and patterns covered in Pattern Paradise. And in Song Station, you ve learned everything from finding the key, using the melody to find chords, using the bass to determine patterns, and even how passing tones work. Needless to say, you have what it takes to start mastering the song learning process. Now, your job is to bring the ear up to par to hear the things you ve learned on the theoretical side. Playing by ear, to me, is where knowledge and ear-training collide. If you can get those to meet in the middle, you ve got it made! -Pg 23-

24 Notes -Pg 24-

25 Notes -Pg 25-

26 Notes -Pg 26-

27 Notes -Pg 27-