![]() ![]() ![]() Is that a reasonable way to look at it for now? Anyone can reply. The melody line in a real book is just a road map of ascending and descending intervals guiding into the texture for the feelings of the chords. I don't know how to us a fake book yet, but after what I've been learning I speculate the following: Now, that you have mentioned what you did. Thanks, for the reply you and JonR are my two favorite members. Mostly, I believe Chord Melody should be studied. This is where the Jazz gets interesting by the way and why studying and playing Jazz should be part of everyone's journey even if not in depth. My emotions may not be spot on and where I'm off or slightly off it is probably because that is an emotion I don't understand. And all this is essentially a sort of student essay to hash out my thoughts but I want feedback. Octave-after all that journey there is finally a peaceful resolution resolving the whole journey. Major 7th-If Minor 7th sounds Scary then the Major 7th sounds Terrifying Major 6th-this is where it gets a little jaded, that's the best I can describe this emotion (people will disagree with this one the most) Minor 6th-the interval begins to sound creepy but still peaceful Perfect 5th-The peace created in the perfect is still there but complicated by a little dissonanceĭiminished 5th-Now that peace starts to break down and get creepy Perfect 4th-halfway from the Octave this is where the intervals becoming highly peaceful and consonant ![]() Major 3rd-has an uplifting spiritual quality Minor 3rd-sounds something withing consonant but aggressive Major 2nd-Sounds peaceful and promising resolving the ominous Unison-nothing to see here just the same note twice So, that is why I'm advising for anyone buying this program to think and hear the entire quality and not the individual notes.įor example here are the emotions I understand: (this is how I hear it others may differ, although I do feel we will overlap in our interpretations. Once you realize there is an emotional quality going on, it really makes this ear training stuff go from boring to exciting. What is correct is that each interval has it's own particular emotion attached to it that can only be heard when both notes are either played ascending from a low note to a high note, descending from high note to a low note, or harmonically which is played at the same time. What I was doing is comparing notes for the highest and lowest notes to decide which interval was larger. The Interval section, the most basic section, asks you to identify between two intervals the larger of the two. I would recommend using this program with a tutor because I was using it incorrectly until I had an epiphany. I've only just completed identifying Intervals and will move onto Chords where I know the emotions of the individual chords will be more nuanced with greater breadth. Minor and Major go beyond "Happy," and "Sad," when it comes to intervals. I particularly want to encourage the Emedia EarMaster series which I own and have used for a year now. But I'm self-taught and not an expert so I want to hash this out with others here with their expertise to encourage ear training. For the time that I've been a member and a lurker I've heard some of the more advanced veteran players say things like, "I hear a minor 2nd in that song." In discussion and I've never understood how they do this. ![]()
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