THIS MELODIC SHAPE TAUGHT ME TO PLAY BY EAR

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– How’s it starting guys? Julian Bradley here with another occurrence of Everyday Ear Training. And today’s video I’m actually gonna display you an excerpt taken from my free video series on ear qualify, over at themusicalear.com. You can sign up for this any time by e-mail. It’s a series of four videos which you receive by e-mail. And in today’s YouTube video I just want to take an excerpt from that free series, only to give you a preference of what it’s all about. And we’re gonna be talking about common shapes. I’m gonna be sharing an important melodic common shape and I’m gonna be indicating you how a lot of playing music by ear works by only spotting these common shapes which are heard in many fragments of music.

And when you hear a common shape it tells you where the music is, where the tune is, within the key. So you’re not just listening to intervals swimming in space. You actually have a tune that has a place within the scale. So I actually hope you enjoy this video. And I’ll talk to you on the other side.( upbeat music) So to start with, let me merely reiterate, that my ear develop method is based on transcribing every chant in the same key. In all of my ear educate videos I’m going to be transcribing in the key of C minor, which is also the key of E flat Major. Both scales are the same key. So as a novice, before I learned to play music by ear, I thought that you would have to identify every single interval in the music from beginning to end, just to be able to play a melody by ear. This isn’t true at all. If it was true I wouldn’t have succeeded. I would’ve given up long ago. The truth is, that there are just seven mentions within a key, so we’re in our key of C minor.

( mournful magnitude) And since 95% of music stays within one key, that means that the tunes that composers write tend to stay within these seven mentions. But when there are just seven notes that a tune can use, it means that you finish up having different melodic shapes within these seven notes. And these are basically shapes that composers tend to play since they are sound good. So an example of a common shape is this.( sorrowful magnitude) It’s an interval pattern which starts minor 3rd and then two whole steps.( melancholy tune)( “Another One Bites the Dust”)( “Thriller”) So this is an example of a common shape and any time you hear this interval pattern, because a common shape is just an interval pattern, minor 3rd whole step whole step in this case, this interval pattern is to say where the melody is within the key.

So within C minor if you hear this interval pattern it is very likely nearly guaranteed to be C, E flat, F and G for the root, 3rd, 4th and 5th within our key. Now although this interval structure becomes available other homes within the key, it can be found built from F, the 4th, and it could also be built from one other home, can you tell me where? It can also be built from G, the 5th.

Although these are possibles, they are very unlikely. And it’s just the way it proceeds. So if you hear this interval pattern, this joint shape, it’s almost guaranteed to be playing the root, the 3rd, the 4th and the 5th of the minor scale.( mournful song)( sad, mulling song) Did you hear the common shape? And these common shapes can be ascending or descending. So there’s as many examples of this shape going to go.( ascending melody) As there are going down.( descending music)( “Thriller”) And there’ll also be lots of melodies that play all sorts of combinings within this.( bright tune)( upbeat music) So why are melodic shapes so useful? Well when you spot a melodic shape it tells you where you are within the key, because every single melodic shape has a place within the key. And formerly you know where you are within the tones of the key, then grows easy to keep track of the music wherever it proceeds from there. So if we take this Bee Gee’s example.( “Stayin’ Alive”) Let’s say that we hear our common shape. Minor 3rd, whole step, whole step. Tells us where we are within the key.

And abruptly we are capable of assign note epithets to our music and we’re not just dealing with intervals swimming in space. Now we are really know where our intervals belong within the key. C, E flat, F, G F, E flat F, C, E flat, E flat, F Well abruptly we can transcribe all of these notes because we’re just hearing the same notes recurred. All of these notes are just Cs, E apartments, Fs and Gs. Or the root, 3rd, 4th and 5th. And it only continues being reused. So we’re not having to figure out the intervals because we just heard these notes a few moments ago or a few seconds ago. And the tune is just reiterate the same tones.( melancholy tune) It’s still just repeating the same few mentions. C, E flat, F, F E flat, F, F, E flat, F, F E flat, F, F, E flat, G, F, F How about this next constituent though?( pensive music) Well when the melody stops playing the melodic shape and it “re going away” and does something else, well it doesn’t really topic because we know where our notes are and we just keep track of it as it then moves off and runs somewhere else within the tones of C minor scale.

And we know what the mentions of C minor magnitude are. We know that if it’s on an E flat, which we identified from our common shape, and then it is down a note. But we know that it’s gone to D natural and it hasn’t gone to D plain, because D flat’s not within our key. And then we just keep track as the tune moves from our common shape. And a lot of melodies move in step, a lot of their move will only be going up a tone or down a mention.( bright sequential tune) So that allows us to keep track of the melody and we just use the common shape to tell us where the melody is in the first place. C, E flat F, G( bright music)( upbeat music) So now let’s look at some other carols which use the same melodic shape. And see if you can smudge the interval motif of this melodic shape.( melancholy melody)( inspiring music) So did you hear the common shape?( repeats common music shape)( mournful music) And I also recommend that you practice playing these common shapes at the forte-piano and maybe write a short composition, only improvise a short composition that uses this shape.

( bright jazzy melody)( upbeat music) So thank you for watching. I hope this video helped shed light on how transcribing jobs. It’s not nearly as difficult as a lot of musicians see. You don’t have to identify every single interval throughout the piece of music. In reality, there are these common shapes who were able to get applied over and over again from one article to another. And when the music does venture out, it generally simply enterprises out a few mentions and it’s surrounding this common shape. And you keep using this joint shape to bring you back to the notes that you are familiar. And basically when you use these common shapes, transcribing arrives a lot more easy. So, thank you very much for watching. I hope this video help me out here. If it did, I are truly realize a thumbs up. And if this is the first video of mine you’ve seen, make sure you don’t miss out on future videos by subscribing to my channel.

Now if you’d like to continue watching this video, where I go into common chord shapes as well, which is just as important as melodic shapes, you can go and watch my free video series on ear instruct over at themusicalear.com. Or merely click on the link below this video. I’ll go into a lot of depth on how ear civilize jobs, how to practice it the right way. So, that’s it for this time. Thank you for watching. I’m Julian Bradley and I’ll see you in the next session of Everyday Ear Training.

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