Transcribing Harmony.

Jazzaferri

What I suggest is to play along with the song you want to learn. Listen carefully to the rhythm and snych yourself to that.

When you can stay synched with the rhythm and hum sing or whistle or whatever the lines that the solo player is playing you will know you have that one down. Then move on to the next.

I prefer to play 30 songs REALLy well than 300 songs in a mediocre fashion but that is just me.

Tele295

Jazzaferri wrote:

Should have one soon. In the meantime If I can figure out how to get Sibelius to make a pdf of it I will post the notes here.

Let me know if you figure out the Sibelius -> PDF problem. It's driving me crazy! None of the notes line up with the staff

Tele295

Passacaglia wrote:

Tele295 wrote:

I start with the basic bass-line. It may not be exactly what the bass player is playing, particularly if the bass lines walk all over the place. Usually there is a low fundamental tone somewhere in the music that I can find, and that pitch is usually the tonic or the fifth.

Thanks, Tele. Do I understand you correctly, when you say you start with the bass line, and it may not be what the bass player is doing - you try to hear the bass tone in the rhythm player's guitar, and go from there?

I wish I could explain it better. My first guitar teacher had a degree in arranging from Berklee. He taught me a lot about implied harmonies, like where a root & fifth power chord implies the major third. Maybe call it "sum harmony"? I don't know, but you can feel the general harmonic movement underneath if you can hear how the instruments are blending, and maybe where the chordal accopaniment and bass lines work together. I'm sorry this isn't much help.

Passacaglia

Tele295 wrote:

Passacaglia wrote:

Tele295 wrote:

I start with the basic bass-line. It may not be exactly what the bass player is playing, particularly if the bass lines walk all over the place. Usually there is a low fundamental tone somewhere in the music that I can find, and that pitch is usually the tonic or the fifth.

Thanks, Tele. Do I understand you correctly, when you say you start with the bass line, and it may not be what the bass player is doing - you try to hear the bass tone in the rhythm player's guitar, and go from there?

I wish I could explain it better. My first guitar teacher had a degree in arranging from Berklee. He taught me a lot about implied harmonies, like where a root & fifth power chord implies the major third. Maybe call it "sum harmony"? I don't know, but you can feel the general harmonic movement underneath if you can hear how the instruments are blending, and maybe where the chordal accopaniment and bass lines work together. I'm sorry this isn't much help.

No, thank you, Tele, I think I get it now - though I know this one's a tough nut to crack. Thanks for your help, and further thoughts.

Jazzaferri

Well, if you are gonna walk this path I agree with Tele. Start with the bass line in context with the melody (solo) and figure out the basic chord structure. The basic rule is a good bass line will give the root on beat 1 and the 5th on beat 3. the notes that most define the basic nature of a chord are the 3rd and 7th. Major or minor. Major 6 is its own case but leave that for now.

Learn to identify the root 3 and 7 in a chord.