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Now the last slide is the ear training slide that you work with, right? You're going to play a one octave major scale starting on the 12th fret of the A string. Now I'll show this to you when I come back, when my video comes back. Okay, all right. And then you're going to put on track one of the scales audio, which would be in the folder that I put in the Dropbox called scales audio.
And it'll sound like this. You hear that? Yes. All right, so that's track one. Now I'm messing with the tempo here, you can speed up and slow this thing down if you get that slow-downer application I was talking about. Okay, but you just sing and say what the note function number sounds like against a chord sound.
I'm going to bring my video back real quick. Let me know when I'm back. You're back? Okay. So the notes you use, A, B, C sharp, D, E, F, G, A, a one octave major scale starting on the 12th fret of the A string. One always sounds like that against a major chord. One. You kind of want to sing and say what that note, note function number, sounds like against that chord sound, so that you're naming the comparison of the note on your bass, the sound of that note against that chord sound, because one is always going to sound like that in a major chord, right?
And then, after about a minute, two, always sounds like that against a major chord. Two, you want to listen carefully to how the note actually sounds against the chord. Three, always sounds like that against a major chord. Three. So you do that on each note of the scale, spending about a minute on each note doing that. Is there any question on that? No, right. It's pretty simple exercise, and it's one of these things that you need to do, you know, pretty frequently.
And over the course of some months you'll start to recognize these notes. In other words, you'll hear a note against a chord and you'll say, oh man, that's three. They'll surprise you, you know, because it'll be like, why didn't I notice that before? You know, because you can teach your ears these numbers in the way that they sound against a chord sound. Okay, all right, and that's something that we actually need to do. Okay, so that when you hear something being played, you go, oh, that, da da da, three, two, one, you know, you can actually recognize it, three, two, one, and find it on the bass. Okay, all right.
Now the second part of this ear training step is learning and getting comfortable with chromatic intervals. Right, now you understand the term chromatic? Yes. Okay, so the first thing to do with this exercise is to find a comfortable octave singing range for your voice. For me it's right here, and for you, you just have to kind of fish around till you can get to the low note and the high note comfortably, you know, with your voice. Don't worry about the quality of the singing voice, just get to where you can actually match the pitches. Okay, all right.
So then I just do the chromatic intervals like this. One, flat two, one, flat two, I'm listening to it on the bass and singing it and naming it with the actual interval name that it's supposed to have. One, flat two, one, flat two, one, two, one, two, one, flat three, one, flat three, one, three, one, three, one, four, one, four, one, sharp four, one, flat five, that one gets two names, five, one, five, one, sharp five, one, flat six, that one gets two names also, one, six, one, six, one, flat seven, one, flat seven, one, seven, one, seven, one, one.
Okay, ascending chromatic intervals in relationship to one, as you go up, because, basically, the quality of your ear training and success of your ear training will be depending on your ability to recognize chromatic intervals. For example, if I said, okay, here's this note, now sing a perfect fifth above that note, so in your mind you have to hear it and then find it, one, two, three, four, five, right? So be able to find an interval and just hear it. Okay, okay, any questions so far on that? No, all right.
Descending chromatic intervals, this you just go down. Now I start on the high note, which is one, one, and then I go one, flat two, one, flat two. But then you might say, well, I thought if that note below one a half step is supposed to be seven, right? That's what I'm saying, right? So why am I calling that flat two? The answer is because I'm calling its intervallic relationship, not its note function number designation. In other words, the interval distance is a minor second whether you go up or down, it's still a minor second interval, but when I go down its note function number is seven. But seven is a minor second down from one, so I'm calling this its intervallic relationship, not its note function number.
Okay, the interesting thing is, though, when you go up the note function numbers and the intervallic names are the same. When you go down, they are not, right? Does that make sense? So, one, flat two, yeah, when I go down that's flat two, but I'm calling it its interval name, not the note function name, right? But you see why I'm calling it flat two, though? Does that make sense? Well, it's a half step down, yeah, from the, but you understand the difference between intervallic relationships and note function numbers?
So it's, so it's between, so, between the two and the one, it'll be a flat, flat, flat, flat two. Well, no, but between flat two and one, it'll be a flat two interval, but that's going up, like one, flat two, flat two, two, right? One, flat two, that's a minor second, that's a flat two interval, or, actually, more accurately put, it's a minor second interval, the way you're actually supposed to say it, but it's a flat two distance, right? Right, because two is always a whole step, right? I'm playing a half step, so I can't call it two, right? So I call it flat two, one flat two. But going down, that's still a minor second interval, so I can call that flat two, because I'm calling its interval relationship, not its note function number. Okay, okay, okay, I got you.
Right, so when I go down, that's why I'm doing that. So basically you do the same thing going down as you do going up.
One, flat two, one, flat two, one, two, one, two, one, flat three, one, flat three, one, three, one, three, one, four, one, four, one, sharp four, one, flat five, one, five, one, five, one, sharp five, one, flat six, one, six, one, six, one, flat seven, one, flat seven, one, seven, one, seven, one.
