Chords for Outside Playing Jazz: 4 Easy Concepts

[F] Hey guys, welcome [Bb] to this Sharp 11 _ [Fm] transcriptions tutorial video.
Today we [Bb] want to talk [F] about outside playing. _
_ _ [B] _ _ _ [Bb] _ _ _
_ Let's face it, as [F] a jazz player or an improvising [Eb] musician, _ [Ab] _
sometimes you just want to [Eb] hit the
people in the face with some [Bb] _ _ cool outside [Bm] lick.
_ _ _ _ [Bbm] We [Abm] extracted some [Cm] concepts of all the [D] transcriptions we made so [Dbm] far _ and let's take a look at the first [Eb] one. _ _ _ _
[D] _ _ _ [Bbm] _ Transposing a lick a half tone up or down is one of the most simple ways to play outside,
yet one of the most effective ones.
_ Michael Brecker, who is a master in outside concepts [Gm] way beyond _ _ this, he _ _ also uses it
in a few solos.
Let's take a look at that.
_ [F] _
[D] This [Eb] _ _ _ _ [F] _ [Gm] _
_ _ [Abm] works when you're transposing it up, but this also works when you're transposing it down.
_ _ [F] _ [Bb] _ _ _ [Ab] _ _
[Cm] _ _ _ _ _ [Abm] _ So you can also take this concept and instead of copying the phrase a half tone higher,
you can also _ _ _ _ scale a half tone higher.
In this example from Eric Marientel, you can see [Ab] that he _ mainly uses a half tone higher,
the minor _ pentatonic of G on an F sharp chord. _ _ _ _ _
_ _ _ _ [F] _ _ _ [G] _
_ [Db] _ [Eb] _ _ _ [E] _ _ _
_ _ _ _ _ _ Tritone substitution is where you literally substitute the dominant chord with the dominant
chord a tritone away.
[N] So for instance, if you have C dominant, you would substitute it with F sharp dominant.
Like in this example, Bob Minster plays F sharp 7 or G flat 7 over C7 and in the next
bar he plays B7 over an [Eb] F7. _ _ _ _ _
_ _ [Bm] _ _ [Eb] _ [Gb] _ _ _
_ [Fm] _ [Eb] _ _ _ _ _ _
_ [Ab] _ _ _ Another example is the one by [N] Cannonball Adderley on Olio, where he plays a kind of a D flat
major pentatonic over the regular 1 6 2 5 in G.
[Eb] _
_ _ [Bb] _ _ _ _ _ _
_ [Bb] _ _ And finally we have an example [A] by Chick Corea, where he uses one of his most commonly used
concepts [N] for playing outside, which is taking the major pentatonic a tritone away and using
that for his lines, which gives a _ clear and solid frame because of the pentatonic [G] and
which is very effective. _ _ _
_ _ _ _ [Gb] _ _ _ [A] _
_ _ [Gb] _ _ [Em] _ _ [Db] I think Stubby's gone overboard with those altered chords. _
_ _ _ _ Another way to play outside is to _ superimpose your own progression on the chords that are already there.
So in the case we will see here in Hit The Ground Running, _ there the chords is actually
just one chord.
It's an A7 _ vamp.
So to challenge the progression a bit more, Eric Marientle uses _ all the modal interchange _ _
chords and plays triads [Ab] on them. _ _ _ _ _ _ _
_ _ _ [N] _ _ _ _ _
_ _ _ _ There are also a few symmetric scales we can use for outside playing, which work because
of their symmetry.
The first one is the octatonic scale or the half whole diminished scale, which is most
commonly used over a [Bm] dominant.
_ _ [C] _ [B] _
_ _ _ [Gb] _ [Db] _ _ [G] _ _
[E] Then we have the whole tone scale. _ _ _ _
_ [Ab] _ [E] _ _ _ _ [A] _ _
[E] _ _ _ And another one we can use which gives us an outer worldly sound is the augmented sound,
which we hear a lot in Alan Holdhurst's playing.
_ _ _ [C] _ _ _ _
[E] _ _ [Ab] _ _ _ _ [E] _ [D] _
_ _ [Ebm] _ [Em] _ [Gb] _ _ _ [G] _
[E] _ _ [Gm] _ _ _ _ _ _
[Am] _ _ _ _ [E] _ So in conclusion, _ for effectively and clearly playing outside, it's best to have a solid
and clear framework which [N] we can take and play over _ any progression, but still gives
people a sort of reference point.
So for example, the pentatonic scale, which has a very clear framework.
You can start it from any outside note and as long as you land back here on earth, [C] you _ _ _ _ _ _
[E] _ _ [A] _ _ _ _ [Dm] _ _
_ _ [G] _ Within the key, [Abm] nothing is impossible.
[Gbm] _ So thanks for watching.
I hope you [Dbm] found this interesting.
Just let us know what you [Bbm] think is the best [Cm] way to play [Ab] outside.
Or do you have [Ebm] different ways to [Bb] play outside?
[Eb] Because there are, of course, many different ways to play outside.
Let us know in the comment section below and see you next time.
[Db] _ _ [Ab] _
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_ [F] Lady, I want to hear you talking about it. _ _
_ _ [B] _ _ _ [F] _ _ [Bb] _
_ _ [G] _ _ _ _ _ _
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