by J.B.

I thought a while ago about a great ear training exercise,useful for absolutely any musician, even those playing transposing instruments.

The aim of it is to create easily a bass line from a melody, and a melody from a bass line.  It also really opens one’s mind to new harmonic perspectives.

It is a must-have songwriting tool.

It is about taking any given interval (minor second to Major 7th, and doubled intervals like a 12th,or to be clearer,an octave plus a perfect 5th)played simultaneously,and being able to clearly “isolate” the low and high notes,then sing them(which means that you’ll have to work in your voice range.  Don’t worry about vocal technique,the point is pitch recognition).

It may already exist somewhere for sure in some book, but I wrote this one for my very own practice schedule.I always create exercises according to my needs(this exercise was made for harpsichord,which is like a lute with a keyboard, after all.  The strings are plucked,too…I’m telling you this just to make it simple)and I found it to be really useful for guitar and bass.

Even though it’s pretty hard to make it figured out without a living example,I’m sure you’ll find it quite easy to get.If you ever want/need help, just contact me.Either through Jeff or by sending me a mail to 0664990466@imode.fr

I also need to mention that this exercise can be furthered, not only to 3 voices, but way more (up to 7)!

Each time a thing, though.

Right now I’m struggling with enriched dominant 7(b9,#11,13)chords!

Just imagine that starting on a D.

You’ll get D-F sharp-C (dominant 7), enriched with E flat, G sharp and B natural.Imagine being able to recognize that stacking of notes instantly:wouldn’t it be cool?

Note: no use for the perfect fifth in the dominant 7 chord,unless you want even extra dissonance(the enriched way is something I use and abuse,but only to add colours to common chords and stick to my mindset when I write music, not to brag)!

I ‘ve studied Gershwin’s complete piano works during the last months.It suits very well the guitar(easier to play with two guitars)or the extended range bass…

Yes,I’m not really a guitar player,but an experimenter that has gone up to 9-string guitars and now plays on an instrument that really fits my needs.A bass with more highs and more lows!

The idea I had when studying Gershwin’s work wasn’t at all to adapt it it to guitar.My pedagogic side popped up.I do teach and use this exercise once the theory is well acquired.

Too many of us have poor or no aural skills, and it slows down the development as an artist, no matter which instrument you play.Believe me,after 22+ years of swallowing knowledge, I realized a lot of obvious thing nobody teaches.

I hope this little thing will help you find your voice.Don’t forget a thing:dare being different.Dare being yourself.

Your brother-in-low,

Jean-Baptiste Collinet,

Sub-Bass and ERB player, music theory and harmony teacher, stage engineer for all cultural events.

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