Developing Listening Skills

[jbtsax]

This is a tune I have been working on with my "tutor". It is called "There Will Never Be Another You (Ewe)

I've recorded several versions. The first is the melody for those who don't know the tune.



The second version is lots of wrong notes that don't fit in the chords or the scales that go in the key.



The next version contains a few wrong notes in key places. For example the tune is in C for the alto, but in bar 7 it modulates into F for 4 bars which requires a Bb. I play a B natural instead (still in the key of C). In bars 13 and 14 it modulates to G and needs an F#. I play an F natural instead. Then when it goes back into C in the next 2 bars I play F# instead of F natural.

 

[jbtsax]

The forum would allow only 3 embedded media so this is the version where I tried to play a simple improvisation being mindful of the changes.

 

[jimmylh]

This is a tune I have been working on with my "tutor". It is called "There Will Never Be Another You (Ewe)

I've recorded several versions. The first is the melody for those who don't know the tune.



The second version is lots of wrong notes that don't fit in the chords or the scales that go in the key.



The next version contains a few wrong notes in key places. For example the tune is in C for the alto, but in bar 7 it modulates into F for 4 bars which requires a Bb. I play a B natural instead (still in the key of C). In bars 13 and 14 it modulates to G and needs an F#. I play an F natural instead. Then when it goes back into C in the next 2 bars I play F# instead of F natural.

The second version: ouch! lol

 

[jimmylh]

The forum would allow only 3 embedded media so this is the version where I tried to play a simple improvisation being mindful of the changes.

I'd like to hear an improv example of playing "wrong" notes outside the changes only in a way creating some cool sounding tension and release.

 

[Tenor Viol]

I think @jbtsax 's demos work well. We are talking mostly here about tension created and resolved through dissonance and consonance. In earlier musical styles, dissonance always had to be prepared and then resolved. Which is set-up, tension, and then relax as the dissonance resolves and becomes consonant.

Even though I'm not familiar with the piece, I can hear exactly what jbt is talking about. I think this comes from having spent a lot of time when I was younger to listening to music. The question here is, what type of listening? I was taught a skill on a course for work called 'active listening' which involves focusing on what someone is saying and paying full attention to it, not zoning out, not preparing your response while they still speaking etc.

So it is with music. You can listen passively, letting it wash over you and becoming a background noise to life, or you can listen actively to it. Now (my theory) I think we have to some extent become lazy about listening. In part it is becasue it is always there in the background. In part though it is genre related. Before I get shouted at, I am not universally tarring all pop and rock music with this brush, but a lot of it is harmonically very simple based around tonic, dominant and subdominant harmony (I V IV). This perhaps means we are less aware or tuned into more complex harmonies. such as feature in much jass and classical repertoire.

I think I have suggested in a previous thread that it is worth sitting down with a score, picking a line and following it whilst listening to it. There's a big resource for classical music (which is probably a good place to go for this sort of thing) which is IMSLP.ORG which contains a lot of scores. Find a piece you know/like and then find a recording. Try following a bass line (e.g. cello, bass or bassoon) that might give you a feel for how the harmony changes.

I think if you can wake up your listening0 by becoming more active in the way you listen, it wil become more obvious. Doesn't mean I can play though

 

[jbtsax]

I'd like to hear an improv example of playing "wrong" notes outside the changes only in a way creating some cool sounding tension and release.

This is a "replay" of a demonstration I did earlier showing how the melodic minor scale beginning on the 7th step can be used over the V7 to create the "tension and release" you mentioned. The melodic minor starting on the 7th also called the "super locrian" has the root, 3rd, and 7th of the dominant 7th chord PLUS b9, #9, b5, #5 --- in other words, everything but the "kitchen sink". The attached file below shows the scales and ***** written out.

https://soundcloud.com/jbtsax%2Fii-v-i-in-eb-using-altered-tones

 

[Rob Pealing]

Disregarding the "quality" of my playing..... here I am playing 8 bars over the chords changes Am7,D7,G6,C7.
4 bars of what I think are relevant notes and 4 bars with some stinkers in it. Which it which to your ears? First or second?

Useful listening exercise for me as well, thanks for doing it.

 

[Rob Pealing]

The forum would allow only 3 embedded media so this is the version where I tried to play a simple improvisation being mindful of the changes.

Thank you for the demo, I found it useful.

 

[Rob Pealing]

Just as a quick demo I did these two tracks. "Right Notes"

On the first one the soloist(NOT ME) plays a 32 bar solo.
On the second one the soloist plays the identical solo, BUT
the whole 32 bars is in a different key.

The 1st is in C and dips into Cm
The 2nd is in F and dips into Fmin.


Chris..

Thank you Chris, funny how I had to apply @tenorviol 's principle and listen actively to realise that the second does not sit comfortably on the backingm track

 

[Colin the Bear]

Right notes, wrong notes?

So...new tune, twice through ensemble, got it, solo time, blowing freely, oops, didn't like that, blowing on, oops done it again, didn't sound as bad this time, middle eight different key, much easier, back to the head, here it comes again, that's better sheesh!

Interval

Conversation with officianado. He likes the building and resolution of the tension in my solo. Me? I'm going to google it when I get home and see what that chord is. Better luck next time

 

[Nick Wyver]

He likes the building and resolution of the tension in my solo.

Cheers. That's one to remember to add to my repertoire of comments on students' solos.