So see seventh chord
with the rule on the top,
on the guitar, the E string,
that's the third and Keesey,
that's the suspension,
that's a sharp 11.
That's the fifth.
And that's the sharp one.
That's the 13th.
And that's the flat seven.
And that's flat nine
and nine.
Three is nine and a third.
OK, and on the B string,
Flight nine, the ninth race night,
the third, the sauce shop
five chef 11, five
shot five 13.
What seven.
Why not take each one of these
notes and voice the dominant quarter
around the.
S.A.C. seven with a flat nine
and Suh's
flat top 11.
The fifth race, fifth
13th, um,
let's seven like nine
nine nine 13
says
the same thing on a straight third
13th five.
And I tried resolving them to one
just like
something like that.
Just little little bits
and pieces of information like that.
I do that with dominant chords
and uh
and I and I, um,
the same thing would have diminished
chords.
Uh,
yeah.
OK, and same thing with majors
and minors, all the potential
to harmonize, so I get a real sense
of all these notes.
So you have to minutes with that level
down on top with the
monitor and on
with the race with.
All these nodes
really get them in my ear, do that for
the five chord qualities
and do kinds of exercise where
I take one note after
and I see it as a function of all
the other base notes.
Um, so let's take
a shot in the
key FCF sharp is
sharp, left eye and
the key of C sharp.
In shops now, it's what?
It's the fourth or the low in
the kid.
The third in the key of
E flat nothing, right?
Is it?
But if sharp is what she
was allowed to raise nine, isn't
it?
Yeah, I
like what's G.
Third,
a flat.
Wait a minute, what am I doing?
I'm going I'm
I'm talking about the flood I started
and she didn't I.
Where did I start?
Oh, see.
All right. E flat.
E flat. Right.
Flat is the reason I write in.
E is what?
Nine, it's an F it's nothing
that's really enough
raised one
of sharpens his own room and the Kuji.
Major yourself, so you do
things like that, your voice cords,
maybe, maybe even studies like that,
where were you?
You hear that note against the room
and you say, well,
voice of chord.
And, uh.
Uh.
You know, and so on, and you begin
to hear one note with various
functions and the intellect
is starting to play a role as
well as your ear, you begin to see
these functions.
So the next thing is to,
uh, apply
some of this material to a
tune, for instance, and tune
I always talk about nice
gets all the things you are as a
lot of cycles of fifths.
And, uh, and, uh,
talk about playing all the things you are
now with all the changes, with all
the third's on the top, which is the
melody of the tune.
Let's sing that one to.