EAR TRAINING 008: Altered Dominant (#9, b9, #11, b13)
April 28, 2019:
EAR TRAINING 008:
EAR TRAINING 008: Altered Dominant (#9, b9, #11, b13)
NEW Musicians rely on their ears for everything they do. This means that the ability to accurately listen to and quickly recognize musical, tone and pitch is vital. The EAR TRAINING course offered at Creative Guitar will help guitar players drastically improve their sense of note identification, recognition and recall...
Lesson 008 of Ear Training Lesson eight of "Ear Training" focuses on the sound and structure of developing Altered Dominant (#9, b9, #11, b13).
EAR TRAINING - DISCLAIMER:
If you have no prior experience with basic music theory, basic rhythm, key signatures and how scales work on the guitar, it is strongly advised to first study the Creative Guitar - Introductory Guitar Program, as well as, the Intermediate Guitar Program.
If you are a guitarist that has no background in basic music theory, key signatures, treble-clef staff /note recognition, or foundational rhythmic duration, then it is advised that prior to working on this course, you study the "Introductory" and "Intermediate" guitar player programs prior to working on this course.
Those preliminary courses, (for beginners and Intermediate players), will lay the foundation for understanding how the nuts and bolts of ear training relate musically and how the principles relate to guitar (as well as other instruments).
The preliminary courses will also help guitar players better comprehend rhythm duration and key signatures.
(1). Part one, of lesson eight Ear Training introduces the sound of the Dominant 7th (#9) chord. This altered dominant chord is created by adding an Augmented 2nd interval (#9) an octave above the tones of a Dominant 7 chord. The lesson contains exercises that involve pitch matching drills for this chord type.
(2). Part two, focuses on exercises that include the Diminished 2nd alteration added on top of the Domiant 7th chord. A Diminished 2nd interval (b9) is added an octave above the tones of the Dominant 7th chord type.
(3). Part three studies the sound of the Dominant 7 (#11) chord quality. Pitch matching exercises will focus on adding the Augmented 4th (#11) an octave above the tones of a Dominant 7th chord. The Dominant 7 (#11) is enharmonic to (the same chord type as), a Dominant 7 (b5) chord.
(4). Part four, practices the sound of the Dominant 7 (b13) chord quality. Pitch matching exercises will focus on adding a Diminished 6th (b13) an octave above the tones of a Dominant 7th chord. The Dominant 7 (b13) is enharmonic to a Dominant 7 (#5) chord.
NOTE: The use and application of calling any altered dominant by the name of "#11 or b13" as opposed to "b5 or #5" will depend upon the upper register tonal movement along with presentation of the chord type in the music chart by the notator /copyist creating the sheet-music score.
(5). Audio Track Training Exercises: Use the MP3 audio tracks (contained within the lesson download), to study the sound of each "Altered" chord.
These chord examples are provided on the table found on page 5 of your PDF handout. The chords are performed on both guitar and on digital piano. Sing and match pitch to each arpeggiated interval exactly as they are performed on the audio tracks.
Watch Part One with a FREE Membership:
PART ONE: Developing the sound of Dominant 7 (#9) chords /arpeggios:
PART TWO: Developing the sound of Dominant 7 (b9) chords /arpeggios:
PART THREE:
EAR TRAINING 008:
EAR TRAINING 008: Altered Dominant (#9, b9, #11, b13)
Lesson 008 of Ear Training Lesson eight of "Ear Training" focuses on the sound and structure of developing Altered Dominant (#9, b9, #11, b13).
EAR TRAINING - DISCLAIMER:
If you have no prior experience with basic music theory, basic rhythm, key signatures and how scales work on the guitar, it is strongly advised to first study the Creative Guitar - Introductory Guitar Program, as well as, the Intermediate Guitar Program.
If you are a guitarist that has no background in basic music theory, key signatures, treble-clef staff /note recognition, or foundational rhythmic duration, then it is advised that prior to working on this course, you study the "Introductory" and "Intermediate" guitar player programs prior to working on this course.
Those preliminary courses, (for beginners and Intermediate players), will lay the foundation for understanding how the nuts and bolts of ear training relate musically and how the principles relate to guitar (as well as other instruments).
The preliminary courses will also help guitar players better comprehend rhythm duration and key signatures.
___________________________
(1). Part one, of lesson eight Ear Training introduces the sound of the Dominant 7th (#9) chord. This altered dominant chord is created by adding an Augmented 2nd interval (#9) an octave above the tones of a Dominant 7 chord. The lesson contains exercises that involve pitch matching drills for this chord type.
(2). Part two, focuses on exercises that include the Diminished 2nd alteration added on top of the Domiant 7th chord. A Diminished 2nd interval (b9) is added an octave above the tones of the Dominant 7th chord type.
(3). Part three studies the sound of the Dominant 7 (#11) chord quality. Pitch matching exercises will focus on adding the Augmented 4th (#11) an octave above the tones of a Dominant 7th chord. The Dominant 7 (#11) is enharmonic to (the same chord type as), a Dominant 7 (b5) chord.
(4). Part four, practices the sound of the Dominant 7 (b13) chord quality. Pitch matching exercises will focus on adding a Diminished 6th (b13) an octave above the tones of a Dominant 7th chord. The Dominant 7 (b13) is enharmonic to a Dominant 7 (#5) chord.
NOTE: The use and application of calling any altered dominant by the name of "#11 or b13" as opposed to "b5 or #5" will depend upon the upper register tonal movement along with presentation of the chord type in the music chart by the notator /copyist creating the sheet-music score.
(5). Audio Track Training Exercises: Use the MP3 audio tracks (contained within the lesson download), to study the sound of each "Altered" chord.
These chord examples are provided on the table found on page 5 of your PDF handout. The chords are performed on both guitar and on digital piano. Sing and match pitch to each arpeggiated interval exactly as they are performed on the audio tracks.
Watch Part One with a FREE Membership:
PART ONE: Developing the sound of Dominant 7 (#9) chords /arpeggios:- Practice singing and playing Dom. 7 (#9) on the guitar fingerboard
- Practice singing and playing Dom. 7 (#9) on the guitar fingerboard
PART TWO: Developing the sound of Dominant 7 (b9) chords /arpeggios:- Practice singing and playing Dom. 7 (b9) on the guitar fingerboard
- Practice singing and playing Dom. 7 (b9) on the guitar fingerboard
PART THREE:
Developing the sound of Dominant 7 (#11) chords /arpeggios:
PART FOUR: Developing the sound of Dominant 7 (b13) chords /arpeggios:
- Practice singing and playing Dom. 7 (#11) on the guitar fingerboard
- Practice singing and playing Dom. 7 (#11) on the guitar fingerboard
PART FOUR: Developing the sound of Dominant 7 (b13) chords /arpeggios:- Practice singing and playing Dom. 7 (b13) on the guitar fingerboard
- Practice singing and playing Dom. 7 (b13) on the guitar fingerboard
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Paid members can download the handout and MP3 audio in the members area at: CreativeGuitarStudio.com
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