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Ear-Training Chord Progressions, Organized by The Soprano

1) The document outlines 12 chord progressions in the key of D major organized by the soprano note, beginning with D and ascending or descending through each note of the D major scale. 2) For each progression, it lists the chords that can follow D while retaining the soprano note, such as D to Em, D to E, or D to A/D. 3) It concludes by suggesting substituting different chords for the D chord to explore other keys and string settings, and practicing extensions like 7th chords to develop an "appreciative knowing ear" and ability to apply this knowledge to an instrument.

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Antonio Fazzio
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52 views2 pages

Ear-Training Chord Progressions, Organized by The Soprano

1) The document outlines 12 chord progressions in the key of D major organized by the soprano note, beginning with D and ascending or descending through each note of the D major scale. 2) For each progression, it lists the chords that can follow D while retaining the soprano note, such as D to Em, D to E, or D to A/D. 3) It concludes by suggesting substituting different chords for the D chord to explore other keys and string settings, and practicing extensions like 7th chords to develop an "appreciative knowing ear" and ability to apply this knowledge to an instrument.

Uploaded by

Antonio Fazzio
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Ear-Training Chord Progressions, Organized by the Soprano

(“two-chord” progressions)
Ted Greene, 1985-09-07
Key of D “Major”
Melody Notes
1) D to E: 1) Triad progressions over D pedal:
D – Em | D – E | D – Eœ | D – A/D | D – Am | D – C | D – C#œ |
2) All these with roots in bass now.
2) D to F#: [D up a 3rd to F#, or down a m6th to F#]
D – D | D – D+ | D – F#m | D – F# | D – Bm (to Em7/G – Asus – A) | (D – B) |
3) D to G: [D up a 4th to G, or down a 5th G]
D – G | D – Gm | D – C#œ | D – C | D – Cm | D – Em | D – Eœ | D – Eb |

4) D to A: [D up a 5th to A, or down a 4th A]


D – D | (D – Dm) | D – F#m | D – F | D – A | D – Am | D – A+ | D – Aœ |

5) D to B: [D down a m3rd to B]
D – Bm | (D – B) | (D – Bœ) | D – Em | D – E | D – G | (D – G#œ) |

6) D to C#: [D down a m2nd to C#]


D – F#m | (D – F#) | D – A | D – A+ | (D – Bbm) later | D – C#œ |
(D – C#/TR or T5) later | [TR = “tonic root,” and T5 = “tonic 5th”]
7) D to C: [D up a b7th to C, or down a 2nd C]
D – C | D – Cm | D – F | (D – Ab) later | D – Am | D – Aœ |

8) D to Bb (A#): D – Gm | D – Bb | (D – Bbm) later | D – Eb | D – Eœ | D – F# |

9) D to G# (Ab): D – E | (D – Fm) later | (D – Ab) | (D – Abm) | D – C# |


D – Dœ | D – G#œ |

10) D to F (E#): [D up a m3rd to F]


D – F | (D – Fm) later | D – Bb | (D – Bbm) later | (D – C#) later |
D – Dm | D – Dœ | D – Bœ |

11) D to Eb (D#): D – Eb | (D – Ab) | D – Aœ | (D – B) | D – Cm |

12) D to D [1) D to unison D, 2) D up an octave to D, 3) D down an octave to D]


D – D | D – Dm | D – Dœ | D – D+ | D – G | D – Gm | D – Bb |
D – Bm | D – Bœ | D – G#œ |

Now try substituting Bm, G, Bb, Gm, Dm, (Dœ), (D+), for all the D chord in all of the above.
Other keys and/or string sets.
There’s 1) the Appreciative Ear, 2) the Knowing Ear, [and 3) the Appreciative Knowing Ear]
Then there’s transferring the latter (2 and 3), to your instrument (knowing where it is and being able to draw
on it when you deem (it) appropriate.)
[Ted’s note to himself:] II. Also do pages of extensions: 7th’s on up (3- and 4-note, later 5-noters)
Don’t forget sus4, and sus#4 triads, and ±7 triad fragments – such triads included III. in minor, IV. with
dominant type I chord.

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