Developing a Rhythmic Ear, Transcribing - Methods?

Passacaglia

OK...I have decided to follow my learning path via Denis's method; tempting to do otherwise - after a desert of so long away from playing, and never having learned theory, I must admit I do enjoy diving into formal theory (and I am definitely not saying that isn't a valuable thing; just a deliberate choice on my part to embrace a method that works for me), and there is an equally pressing itch to learn as much repertoire as I can, from a siren's call (age), telling me I've only so much time left to learn. (esp. as I'm heading to the Midwest Fest in a couple of weeks, under the best of all worlds, I'd have in hand a body of tunes to jam with. But I've decided to let any repertoire work go, for the indefinite future; I seek to master fundamentals, how to play, not what to play - until I really can play, if that makes sense).

So, I've opted for what feels to me is likely a harder, but ultimately more rewarding road: to learn and master fundamentals by this method of osmosis. I have come to be feeling comfortable with something like 30-40 voicings; learning various progressions and so forth by simply watching, recognizing chords, playing, working to make cleaner and cleaner each chord, each chord change, and rhythmic technique generally.

The thing that now feels most foreign to me is the ability to discern chords from recorded music. I can actually more easily transcribe melody and solo, than chords.

One issue, I think, is that it's sometimes very hard for me to distinguish, say, a 6/9 from a 7th - likely, because a similar voicing may be used?

Or, because I'm not yet home enough with progressions to be able to know the function of a chord in the progression - in other words, to know that a given chord I'm hearing is a m7, or a major slash chord with the same voicing, I don't know what a given chord is, at any given moment.

I suspect the longer I play, the better I'll come to understand chord function in a progression, and this will help me to start better pinning down a given chord I hear).

I also think that the more I simply practice, playing voicings, the more each will become ingrained in my mind's ear, such that I will be able to hear recorded music and follow the accompaniment because I'll simply know "Oh, that's a Bbdim."

That said - does anyone have any suggestions (in lieu of following chord grilles or tabs, etc.) for improving my ear for rhythm transcription? Many have suggested Stephane Wrembel's play-along rhythm tracks, for example - and I agree, these are wonderful. Straight rhythm tracks, clean as a whistle. But at least at this juncture, I'm feeling pretty much like I know nothing, because I have no idea where to start with finding the chords, simply by listening.

Hope this was clear, both my indicated intent (as to how I'd like to continue to learn), and my issue these days. Thanks for any thoughts.

Paul

Matthias Lenz

Hey Paul,

the bass line often points out the chord, so it´s always worth listening to.

A good theoretical background of harmony and harmonic progression can´t hurt, at least when combined with hearing experience. Educating your ears pays off wonderful

Primarily figure out if it´s a Major, Minor, Dominant or Diminished chord, the "fine tuning" for identifying other optional notes (as 7th, 9th, 6th or augmented fifths and stuff) will come with time. Harmony, after all, is a vast topic, so take it step by step and try to fully integrate everything in your mind, hands and ears.

Kind regards and best wishes,
M.

pinkgary

I second the "listen to the bass" advice..

And the Wrembel stuff is a wonderful place to start transcribing rhythm, 'cos all the Django stuff the rhythm is very hard to hear a lot of the time so even harder to transcribe.

A little theory will help, you can then make educated guesses about what chord will come next, and you won't ever mistake a 6/9 for a Dom 7 again.