I have been looking for a video like this for a couple months now. Thank you very much for taking the time to record it and put it online. Let's warm up those ears !
Okay! I know I will master this. Practicing daily. To the untrained ear this sounds hard as hell, but trust me if you’re just starting out, JUST BE CONSISTENT. You’ll get there.
Great tutorial. Thanks. I tend to put focus on the highest note of the chord, such as D, E and F# in example I, which are actually the chords G, C and D. It is only when I pick the guitar and check that I get certain - more practise!!!
First of all thanks to Mr. Wood for supplying the quiz. Man your guitar is so in tune and clear. I wanted to comment that 3 chord sequences can be interpreted more than one way. The IV I V progression could be heard as bVII IV I in mixolydian. For example the E B. F# sequence could be heard in F# mixolydian. Especially if your listening includes modal music.
Fantastic video. I've recommended that my music students use this as practice and a quiz to check their progress on hearing I-IV-V. Liked and subscribed!
You should use the 7th in the V chords because, whitout it, you can interpret some chord progressions in a diferent way. For example in the example 3, you can use the chords D-A-E as a VIIM-IV-I progression where E is the tonic and that can be confusing in therms of ear training, I think that the work in the recognition of a dominant seventh chord is essential before a training in chord progressions.
The special thing about the dominant chord is that it leads towards tonic (aka I). Therefore, the dominant chord traditionally always goes back to some kind of a tonic. However, it is okay to be rebellious by building even more tension into the V, and thereby stretch the dominant (like Wagner who stretched the dominant for hours in his operas), but you don't do that by going to IV. If you go to IV it, kind go harmonically backwards. But it is still used in modal and blues music. You are welcome to ask, if you have any further questions.
Yes, you are correct that one could hear D-A-E as a VIIM-IV-I progression if one was thinking E-Mixolydian, in which case the harmonization would be I - E ii - F#m iii - G#dim IV - A v - Bm vi - C#m VII - D I, however, was keeping strictly to Ionian for the purposes of this exercise. Thanks for watching!
Hello! When I play a song for the first time, I can never remember on the spot which chord progressions to play with a given song. And as I listen to a song in my head, I often have difficulty and am unable to make out the bass notes to identify the chord progressions. So I and I suspect many of us (consciously or subconsciously) use the following musical forms/patterns to extemporaneously reconstruct and play the chord progressions on the fly while listening to a song in our head: 1. The last root note of the basic chord (not inverted chords) of a song is almost always the same note (+1 or more octaves below) as the final note of the song/melody (or final note of the opening stanza/verse). 2. When the melody progresses upward or downward chromatically, the root note of the basic chord is often 3 note intervals below (+1 octave) the melodic notes played on the main down beat (or sometimes immediately after the main down beat if the down beat melodic note is just a passing note). 3. Otherwise, the root note of the basic chord is either 1, 3, or 5 note intervals BELOW the melodic notes played on the main down beats (or immediately after the main down beat when encountering passing melodic notes). Try playing some traditional Christmas carols on piano in the key of C to easily confirm this simple correspondence between melodic and root notes. 4. Form the chords by playing the root note and the notes at 5, 8, and 10 note intervals above the root note. Add intervals 7 and 9 to jazz it up. I’ve been able to use just these four simple steps/rules to identify the chords to play any given song melody (if you’re playing the piano) by simply and literally watching and visually identifying the melodic notes I am playing with my right hand on the main down beats - a process I’ve come to call “playing by sight” as opposed to “playing be ear” - a process that requires little or no mental effort. If you’re not playing the melody and just playing the chords, you’ll need to “play by ear” and use your ear to identify the melodic notes as you sing the melody in your head using the solfege (do-re-me) method and apply the steps above to identify the root notes and chords.
good exercise. I wonder if this exercise will help in times when I am trying to follow along without the chord charts in front of me. The I chord was the easiest to identify. It sound like the other two chords resolve to it.
We all could use a little help with ear training. If you're familiar with I-IV-V chord progressions, than the next step is to be able to identify them by ear. This video is here to help: Ear Training Quiz - I-IV-V chord progressions
Are those even V chords? They sound like VII chords to me (on a mixolydian / Major with flat seventh). Like the one at 2:20 Some of them are definitely V chords though. Like around 2:53
Listen for the bass note, that will help you establish the root. Secondly, listen for the chords that are close together. In other words, try to listen for the pair of chords that are a whole step (whole tone) apart. Those two chords are your IV and V. The lower pitched chord is the IV. The chord that did not meet this criteria is your I chord. I hope that helps!
You can't only listen to the bass note or lowest note. Not all chords are in root position. The I chord in root position contains the same lowest note as the IV chord in second inversion.
I: 'Resolution' A very strong and complete chord. IV: 'Cliff Hanger' This chords makes me feel uneasy, and tense. V: 'Airy Transition' Think what's next? Needs a resolution. I associate and pay close attention to the mood they evoke, this is by far what has helped me mid-way, realizing how difficult it was to tell between inversions. Considering it's been five years, you may have figured it out by this point. But just for anyone else out there!
Interesting ear training...I might use myself and also with my students...thank's...of course with guitar on hands i have no difficulty...but without, it's hard for me.... this is one of my weaknesses...if I had the tonic chord on beginning it would be easier...lol
Hi Katarina, your question is about the Nashville number system. Google that and you'll find lots of great explanations. Good luck and thanks for watching!
all the comments about hearing the 7 are silly. U know from the title of the video we are thinking about these chords as 1s 4s and 5s . Yes u can hear them as 7 5 4, but bro follow the directions and . If ur hearing it as 7 u need to then think of the scale and see how u might be hearing it mixolydian instead of ionian .
Hi there, I find myself a bit confused on Example 11: I'm distinctly hearing 3-2-1 in the top notes, but there's no 3rd scale degree in a V chord and no 2nd scale degree in a IV chord. So how can this be?
javert24601 Good question. The three chords played in Example 11 are B-major - A-major - E-major (V - IV - I). The key is E-major, containing the following notes E - F# - G# - A - B - C# - D#. The notes that you are hearing are the notes D#, C#, B, whereas D# is the 3rd in the B-major chord, C# is the 3rd in the A-major chord. and B is the 5th of the E-major chord. Those notes are also the 7th, 6th and 5th notes of the E-major scale, respectively. You're right that it feels resolved, much like playing a descending run of the 3rd, 2nd and root notes of a major scale. That's because the intervals between 3, 2, 1 and 7, 6, 5 in a major scale are both the same: whole step - whole step. This resolution is part of the reason why V-IV-I movements sound so good! I hope this lengthy explanation helps!
Its kinda easy bcoz the V sound is much higher and secondly the IV and lastly the I as the least highest but the problem comes when chords like V are played at a lower octave than the I 😂
I'm using the common definition of the word "chord progression" as it pertains to music, not the strict, and frankly, archaic, definition that I think you are suggesting here. Sure, strictly speaking, a chord sequence that plays a progression in reverse is called a retrogression. Bravo to you (seriously) for knowing that. I had to look it up myself. But no one actually uses that term in day-to-day pop music music making. In common speech, everyone refers to a sequence of chords as "chord progression," regardless of motion, in my experience. Lastly, in pop music at least, V chords move to IV chords in many songs: for example - bars 9 and 10 of 90% of the blues tunes out there. I don't know any other way to notate it. Thanks for watching and please comment back. I want to learn more about what your thoughts are.
Keep working at ET very slowly and patiently and you will automatically get better. Consistency is important also; it's better to practice 10 mins a day than an hour once or twice a week.
Think flat and sharp as you listening to the tonality of these chords..And it will be easy to tell.The one chord will always sound lower in tonality(flat)than the IV chord and the V chord will always sound sharper than both I & IV chords.I hope that help.Its as if you are progressing on the fretboard from the headstock to the body..IV and V chords will be closer to the body or higher in the neck which sharpen the chords tonalities while the I chord is closer to the headstock meaning lower tonality(flat).
@@geovaniraffaelli4508You're very welcome.Sometimes the 4 and 5 chords will be so similar pitch-wise but with practices you'll pick them them apart.God bless you.
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
I have been looking for a video like this for a couple months now. Thank you very much for taking the time to record it and put it online. Let's warm up those ears !
Okay! I know I will master this. Practicing daily. To the untrained ear this sounds hard as hell, but trust me if you’re just starting out, JUST BE CONSISTENT.
You’ll get there.
Great tutorial. Thanks.
I tend to put focus on the highest note of the chord, such as D, E and F# in example I, which are actually the chords G, C and D. It is only when I pick the guitar and check that I get certain - more practise!!!
Thanks for watching and keep up the study. You'll get it in no time!
First of all thanks to Mr. Wood for supplying the quiz. Man your guitar is so in tune and clear.
I wanted to comment that 3 chord sequences can be interpreted more than one way.
The IV I V progression could be heard as bVII IV I in mixolydian. For example the E B. F# sequence could be heard in F# mixolydian. Especially if your listening includes modal music.
Fantastic video. I've recommended that my music students use this as practice and a quiz to check their progress on hearing I-IV-V. Liked and subscribed!
I'm glad that you like it!
You should use the 7th in the V chords because, whitout it, you can interpret some chord progressions in a diferent way. For example in the example 3, you can use the chords D-A-E as a VIIM-IV-I progression where E is the tonic and that can be confusing in therms of ear training, I think that the work in the recognition of a dominant seventh chord is essential before a training in chord progressions.
It would be harmonically wrong in those cases where V7 will be followed a IV instead of a I.
The special thing about the dominant chord is that it leads towards tonic (aka I). Therefore, the dominant chord traditionally always goes back to some kind of a tonic. However, it is okay to be rebellious by building even more tension into the V, and thereby stretch the dominant (like Wagner who stretched the dominant for hours in his operas), but you don't do that by going to IV. If you go to IV it, kind go harmonically backwards.
But it is still used in modal and blues music.
You are welcome to ask, if you have any further questions.
Yes, you are correct that one could hear D-A-E as a VIIM-IV-I progression if one was thinking E-Mixolydian, in which case the harmonization would be
I - E
ii - F#m
iii - G#dim
IV - A
v - Bm
vi - C#m
VII - D
I, however, was keeping strictly to Ionian for the purposes of this exercise. Thanks for watching!
example 7sounded like V IV I.
More Please!
Example 10 sounds like 2 patterns. Anyone else catch that?
Great video to hear 1-4-5 patterns! Thx!
Would be great if you shwo what inversión you played
Please play more quis like those playing others chords. Very good
IV I V is really hard for whatever reason to my ear, something throw it off, I don't hear the middle note as I
That’s funny because I distinguish that one the best but suck whenever V to IV
That’s cause it’s played in a different octave
because it is not the one, IV I V can also be written as I - V - II (Lydian mode, so the IV in ionian mode in the one)
@@loui2w118 No.The high 6th is added to the chord whenever the IV I V progression played. Making it harder to identify
Same goes for me :D Failed that one everytime
I really loved this. Great content idea.
Hello! When I play a song for the first time, I can never remember on the spot which chord progressions to play with a given song. And as I listen to a song in my head, I often have difficulty and am unable to make out the bass notes to identify the chord progressions. So I and I suspect many of us (consciously or subconsciously) use the following musical forms/patterns to extemporaneously reconstruct and play the chord progressions on the fly while listening to a song in our head:
1. The last root note of the basic chord (not inverted chords) of a song is almost always the same note (+1 or more octaves below) as the final note of the song/melody (or final note of the opening stanza/verse).
2. When the melody progresses upward or downward chromatically, the root note of the basic chord is often 3 note intervals below (+1 octave) the melodic notes played on the main down beat (or sometimes immediately after the main down beat if the down beat melodic note is just a passing note).
3. Otherwise, the root note of the basic chord is either 1, 3, or 5 note intervals BELOW the melodic notes played on the main down beats (or immediately after the main down beat when encountering passing melodic notes). Try playing some traditional Christmas carols on piano in the key of C to easily confirm this simple correspondence between melodic and root notes.
4. Form the chords by playing the root note and the notes at 5, 8, and 10 note intervals above the root note. Add intervals 7 and 9 to jazz it up.
I’ve been able to use just these four simple steps/rules to identify the chords to play any given song melody (if you’re playing the piano) by simply and literally watching and visually identifying the melodic notes I am playing with my right hand on the main down beats - a process I’ve come to call “playing by sight” as opposed to “playing be ear” - a process that requires little or no mental effort.
If you’re not playing the melody and just playing the chords, you’ll need to “play by ear” and use your ear to identify the melodic notes as you sing the melody in your head using the solfege (do-re-me) method and apply the steps above to identify the root notes and chords.
Is the any video to visualise what your explaining ?
Asam Shabani Yes. I have a code demo at ruclips.net/video/AnhS9lnOkJg/видео.html
This is great! Please post more videos that are similar with different progressions! :)
good exercise. I wonder if this exercise will help in times when I am trying to follow along without the chord charts in front of me. The I chord was the easiest to identify. It sound like the other two chords resolve to it.
Thanks for the good contents
We all could use a little help with ear training. If you're familiar with I-IV-V chord progressions, than the next step is to be able to identify them by ear. This video is here to help:
Ear Training Quiz - I-IV-V chord progressions
after 2 years and coming back to check how much i've improved im as equally as confused as i was at the start
Is that a stratocaster
Yes, indeed! Good ear!
I am not able to judge any chord progression out of these..can any one Help me make some kind of perception before judging, when listened to them
Wait, I totally figured it out! Lol
All you have to do is listen to the lowest note being played and it’s super easy
Except when inversion are being played... I find this really difficult.
Example 9. V , I , IV sounds like I V IV Or is it just my amateur ear.......Anyone please??
Are those even V chords? They sound like VII chords to me (on a mixolydian / Major with flat seventh). Like the one at 2:20
Some of them are definitely V chords though. Like around 2:53
exactly
Thanks, but no answer to the quiz
The answers are given on the fourth repetition of each question :)
And what about inversions ? With inversions and adjacen octaves is more complex to figure out the chords
Exactly my question. The change in pitches makes it really easy for these examples
Are there any ear training excercises with chord progressions which are more difficult?
I struggle so much when he plays different inversions ! does anyone know any techniques to get this with a certain 'logic' ?
Listen for the bass note, that will help you establish the root. Secondly, listen for the chords that are close together. In other words, try to listen for the pair of chords that are a whole step (whole tone) apart. Those two chords are your IV and V. The lower pitched chord is the IV. The chord that did not meet this criteria is your I chord. I hope that helps!
***** That's a great help Earle! Cheers
You can't only listen to the bass note or lowest note. Not all chords are in root position. The I chord in root position contains the same lowest note as the IV chord in second inversion.
jerky2112 True.
I: 'Resolution' A very strong and complete chord.
IV: 'Cliff Hanger' This chords makes me feel uneasy, and tense.
V: 'Airy Transition' Think what's next? Needs a resolution.
I associate and pay close attention to the mood they evoke, this is by far what has helped me mid-way, realizing how difficult it was to tell between inversions. Considering it's been five years, you may have figured it out by this point. But just for anyone else out there!
how do i get good at this?
I’d like to know what key example 7 is in please.
Thanks for watching. Example 7 is in E-major.
What if this is easy for me and i hear it first time?
Annnd I'm having the same problem with Example 15, which has the same answer. What's going on, do you think?
well i got one right guess i no were my weakness is great video
Names of the chords would have helped a great way
Interesting ear training...I might use myself and also with my students...thank's...of course with guitar on hands i have no difficulty...but without, it's hard for me.... this is one of my weaknesses...if I had the tonic chord on beginning it would be easier...lol
i got most of it right but i don't know what I IV V means. can someone briefly explain?
Hi Katarina, your question is about the Nashville number system. Google that and you'll find lots of great explanations. Good luck and thanks for watching!
What does IV mean?
It's the 4th note/chord in a scale. A C-Major scale is C D E F G A B; so the 4th note (IV) is an F.
Awesome video. I'm horrible at this.
best score -> 13/18
8/18
7/18
all the comments about hearing the 7 are silly. U know from the title of the video we are thinking about these chords as 1s 4s and 5s . Yes u can hear them as 7 5 4, but bro follow the directions and . If ur hearing it as 7 u need to then think of the scale and see how u might be hearing it mixolydian instead of ionian .
Hi there, I find myself a bit confused on Example 11: I'm distinctly hearing 3-2-1 in the top notes, but there's no 3rd scale degree in a V chord and no 2nd scale degree in a IV chord. So how can this be?
javert24601 Good question. The three chords played in Example 11 are B-major - A-major - E-major (V - IV - I). The key is E-major, containing the following notes E - F# - G# - A - B - C# - D#. The notes that you are hearing are the notes D#, C#, B, whereas D# is the 3rd in the B-major chord, C# is the 3rd in the A-major chord. and B is the 5th of the E-major chord. Those notes are also the 7th, 6th and 5th notes of the E-major scale, respectively. You're right that it feels resolved, much like playing a descending run of the 3rd, 2nd and root notes of a major scale. That's because the intervals between 3, 2, 1 and 7, 6, 5 in a major scale are both the same: whole step - whole step. This resolution is part of the reason why V-IV-I movements sound so good! I hope this lengthy explanation helps!
+Earle Wood (EW Guitar Lessons) this is very helpful! Pretty abstract concept :/
Thank you so much!! love ya!
Its kinda easy bcoz the V sound is much higher and secondly the IV and lastly the I as the least highest but the problem comes when chords like V are played at a lower octave than the I 😂
what key was example 6 in?
Key of Ab: Eb - Db- Ab
0:40
1:00
1:27
1:56
I love this! I was wondering, are these all in the same key? It seems to me that they are not but I am no expert.
Hi John. You are correct, these examples are in different keys. Thanks for watching and I hope it helps!
Earle Wood yes this is very challenging for me and I think the different keys and how you made it so random helps greatly.
Isn’t V to IV a retrogression? I’ve never heard V go to a IV in a dictation
I'm using the common definition of the word "chord progression" as it pertains to music, not the strict, and frankly, archaic, definition that I think you are suggesting here. Sure, strictly speaking, a chord sequence that plays a progression in reverse is called a retrogression. Bravo to you (seriously) for knowing that. I had to look it up myself. But no one actually uses that term in day-to-day pop music music making. In common speech, everyone refers to a sequence of chords as "chord progression," regardless of motion, in my experience. Lastly, in pop music at least, V chords move to IV chords in many songs: for example - bars 9 and 10 of 90% of the blues tunes out there. I don't know any other way to notate it. Thanks for watching and please comment back. I want to learn more about what your thoughts are.
Blues Progression use V-IV.
Earle Wood o
I will never be able to sort this crap out
Keep working at ET very slowly and patiently and you will automatically get better. Consistency is important also; it's better to practice 10 mins a day than an hour once or twice a week.
Yes, single notes wud've better for us. Chords are difficult for newbies.
Think flat and sharp as you listening to the tonality of these chords..And it will be easy to tell.The one chord will always sound lower in tonality(flat)than the IV chord and the V chord will always sound sharper than both I & IV chords.I hope that help.Its as if you are progressing on the fretboard from the headstock to the body..IV and V chords will be closer to the body or higher in the neck which sharpen the chords tonalities while the I chord is closer to the headstock meaning lower tonality(flat).
@@MARCKEL7 wow dude thank you, your advice helped me tremendously
@@geovaniraffaelli4508You're very welcome.Sometimes the 4 and 5 chords will be so similar pitch-wise but with practices you'll pick them them apart.God bless you.
0:15
0:10
Everything is 2 5 1
Hmmm. Seems if we heard the whole song, the 1 would be more evident. I failed this miserably, but do better with me guitar and song.
I suck :(
Husain Alhamiri Stop! Don’t give up! It’s overwhelming at first but persist and you will surprise yourself!
@@Boxxxxxxxxx I appreciate your encouragement. But I've been playing for almost two years this should have been easy to do.
eww... guitar.
+Nils oh, and thanks, preparing for something this comes in very handy!
piano master race amirite
sorry sir I’ll remove myself
1:05