Really good explanation of the concept,thank you.In other words by playing inside and outside but not to far out,only one half step below and above,we are still hitting the notes that belong to the inside,that it still sounds good.I would add that by not hitting the root note for some time we can create tension,but again,not for too long because the listener will be bored.
A superb video with some really cool ideas for playing outside - something I've been trying to do for years without too much success. Thankyou very much. Also, the playing is great and the guitar sounds fabulous.
Hi, about the 4ths and 5ths example; are you just playing 4ths and 5ths from C (like just a F note and a G note) or are you playing scales that are 4ths or 5ths from the home key (like F major/minor, G major/minor)?
@OlegVoronin Hey man, thanks-- it's an 2008 American Strat which has been modified with DiMarzio Virtual Vintage pickups. The amp is a Roland GP-100 preamp/effects unit (just some reverb) running through a Mesa Boogie 20/20 Dyna-Watt Power amp with 2/10 Budda cabinet. The camera is picking up some string sound too.
Hey guys-- for those asking about the 4ths and 5ths example, I have some lines and ideas posted on my blog you can download. As YouTube will block any attempt to list the address here, you can see it on the video at the beginning and end. Have at it.
@mikedoveguitar Transcribe away. I'm going to post a follow-up to this video as I seemed to get the most amount of interest out of that intervalic playing. I'll post some examples of exercises to get that kind of thing under your fingers. With that said, it's just a technique, ulitmately it's your phrasing and how you resolve things that makes those kinds of lines work or just end up being a bunch of random notes.
nice one sean, great lesson. been really trying to get these sort of sounds over static harmony but haven't found a video as clear and well explained as this. this answered alot of questions i had regarding alot of jazz i've heard but never understood what the soloists were applying in these sorts of situations.
been listening to jonathan kreisberg quite a bit too and was wondering if you had any insights to how he approaches some of his lines?
Very Nice...you're essentially playing ideas/notes that are contained in the so-called C 'Augumented scale', right? (C,D#/Eb,E,F.x./G/,G#,B). Hip stuff, thanks.
@egyptianminor That's right, the only difference being (for me), when I was playing these lines I was much more thinking about triad shapes and sounds more than scale-type playing. But anyway, the short answer is -- if you take those three triads (C, E, Ab) I'm working with and stack them, you have the Augmented scale.
@LostMuffin03 You certainly could do that but you wouldn't get the same relationship to the home key (C min) as you do in my example. It's not a perfectly translatable approach, I was just showing a few of many, many different approaches to starting to learn to play outside.
When I play out over minor sounds, I tend to use more of the intervallic ideas I demonstrated. That's just me, again, go nuts and do what sounds good to you.
great practice ideas, thankyou. ive been practicing this for a while. just to be clear when you were using 4ths and 5ths you were playing C,F,G or were you playing
@christophergradwohl For the 4ths and 5ths example, I was using the intervals of a 4th and 5th and essentially moving them around on the neck chromatically for 4 bars while aiming to land on a more consonant spot for my 4 bars of inside playing.
On guitar, this is pretty easy to do if you know the minor Pentatonic scale as the 4ths and 5ths are laid out very comfortably on the fingerboard. I have the feeling I haven't explained this really well so I'm going to post some explanations on my site.
Alright Let me start by saying, THANK YOU! These videos are incredible. I am having a few issues understanding the concept of the 2nd approach. I understand 4ths and 5ths and am trying to understand and more or less emulate what you are doing but cant get it right. Can you explain the pattern that you do Right as begin the 2nd approach? Id greatly appreciate it.
@Rdallaire My short, nearly useless explanation is play the A Minor Pentatonic scale (for instance) primarily emphasizing the 4ths and 5ths shapes in (A to D, E to A, G to D) THEN, move it up or down a half step so you're now playing either Bb Minor Pentatonic or Ab Minor Pentatonic and do the same thing with the shapes/relationships between the notes.
I know this can be horribly confusing without examples. I'm going to post some exercises on my site as a lot of people seem interested in this.
Ok, thanks!! you're very kind for sharing. Final clarification, I'm learning how 2 improvise. The song I'm learning is "Don't stop the Carnival" in C Maj by S Rollins. So, if I want to play modally, then I can just play D dorian, or any mode on the c scale? or if I want to play outside, I can play maj 3rd traids below or/and above the C Maj scale? etc. I love the sound of outside playing. I feel like jumping right into learning outside before learning inside, can I ? Ok, will wait 4 your vids
@knowledgeispowerfful To answer your first question-- yes. I just put a post up on my site about modes, check it out for a more full answer than what I gave below. As far as playing outside before playing inside, I would encourage you to play what sounds good to you. Outside and inside are just words used to characterize sounds. It's the sounds that matter. My guess is you're responding to some of the tension created by outside playing. I would definitely encourage you to explore that.
Thanks so much!! So just to B clear about the mode, U mention c maj, and 2 treat D as the tonic such as calling it D dorian? and is this a basic rule of thumb in jazz when playing modal?
@knowledgeispowerfful You're right-- the second mode of a major scale is Dorian. So, in C major, D is the Dorian mode. in E major, F# is the Dorian mode etc. The thing is, if you know the major scale, you already know all the standard modes. Just play the major scale from any pitch other than the key/tonic/I pitch. Additionally, *every* scale has modes, they're just another way to look at scales you already know. Not enough space for me to answer fully, I'm going to put a post up on this soon.
@knowledgeispowerfful In a nutshell, outside playing is purposely playing notes that are not in the key of the song you are playing on. A mode is just a scale with a different note emphasized as the tonic or I chord. In a C major scale, the tonic or I chord is C major. A *mode* of C major is to treat one of the other notes from the scale as I, like D for instance. Video is coming on this. It's much simpler than it sounds. Maybe I'll throw a quick post up on the site to just break it down first.
Thanks for sharing these ideas. Great stuff to work on. Inspired playing too!
UnitedEffect 1 month ago in playlist More videos from seancd
Pat Metheny on electric guitar ^^ I love this video lesson
JoshuaVergara2777 2 months ago
Really good explanation of the concept,thank you.In other words by playing inside and outside but not to far out,only one half step below and above,we are still hitting the notes that belong to the inside,that it still sounds good.I would add that by not hitting the root note for some time we can create tension,but again,not for too long because the listener will be bored.
expressyourselfist 2 months ago
A superb video with some really cool ideas for playing outside - something I've been trying to do for years without too much success. Thankyou very much. Also, the playing is great and the guitar sounds fabulous.
MrMjp58 3 months ago
cool ideas, thanks! I love the sound of those 4ths and 5ths.
mdschneider1 3 months ago
realy nice video
murdechoc 4 months ago
Hi, about the 4ths and 5ths example; are you just playing 4ths and 5ths from C (like just a F note and a G note) or are you playing scales that are 4ths or 5ths from the home key (like F major/minor, G major/minor)?
dieztheremin 6 months ago
Man that helps so much! Thanks!
Shredderof7Seas 11 months ago
Hello,
Thank you for the video.
Could you tell us what gear are you using for this video. Wonderful tone!
What Fender is that and is it modified, pick and string? amp?
Thank you.
OlegVoronin 11 months ago
@OlegVoronin Hey man, thanks-- it's an 2008 American Strat which has been modified with DiMarzio Virtual Vintage pickups. The amp is a Roland GP-100 preamp/effects unit (just some reverb) running through a Mesa Boogie 20/20 Dyna-Watt Power amp with 2/10 Budda cabinet. The camera is picking up some string sound too.
seancd 11 months ago
@seancd Thank you
OlegVoronin 11 months ago
Scary stuff demonstrated with great guitar playing
Eyllloween 1 year ago
Hey guys-- for those asking about the 4ths and 5ths example, I have some lines and ideas posted on my blog you can download. As YouTube will block any attempt to list the address here, you can see it on the video at the beginning and end. Have at it.
seancd 1 year ago
I got some transcribing to do to get that 4ths and 5ths thing down. I'm not sure exactly what you're doing.
mikedoveguitar 1 year ago
@mikedoveguitar Transcribe away. I'm going to post a follow-up to this video as I seemed to get the most amount of interest out of that intervalic playing. I'll post some examples of exercises to get that kind of thing under your fingers. With that said, it's just a technique, ulitmately it's your phrasing and how you resolve things that makes those kinds of lines work or just end up being a bunch of random notes.
seancd 1 year ago
Hey sean, did you create that little backing track?
rednut2000 1 year ago
@rednut2000 I did yes, just a simple loop in Reason. I use that and Apple's Garage Band for this type of thing-- great practicing tools.
seancd 1 year ago
nice one sean, great lesson. been really trying to get these sort of sounds over static harmony but haven't found a video as clear and well explained as this. this answered alot of questions i had regarding alot of jazz i've heard but never understood what the soloists were applying in these sorts of situations.
been listening to jonathan kreisberg quite a bit too and was wondering if you had any insights to how he approaches some of his lines?
christy68 1 year ago
Very Nice...you're essentially playing ideas/notes that are contained in the so-called C 'Augumented scale', right? (C,D#/Eb,E,F.x./G/,G#,B). Hip stuff, thanks.
egyptianminor 1 year ago
@egyptianminor That's right, the only difference being (for me), when I was playing these lines I was much more thinking about triad shapes and sounds more than scale-type playing. But anyway, the short answer is -- if you take those three triads (C, E, Ab) I'm working with and stack them, you have the Augmented scale.
seancd 1 year ago
You are a very good teacher.
HendrixcommaMartin 1 year ago
Great Video.....What Camcorder are you using ? sounds and looks great!
flatpicking 1 year ago
@flatpicking It's about a 10-year old Canon digital video recorder. Couldn't tell you the type but it does the trick for the job.
seancd 1 year ago
So if you were playing over a cmin ostinato, can you use Eb and A min triads? (a min 3rd away.)
LostMuffin03 1 year ago
@LostMuffin03 You certainly could do that but you wouldn't get the same relationship to the home key (C min) as you do in my example. It's not a perfectly translatable approach, I was just showing a few of many, many different approaches to starting to learn to play outside.
When I play out over minor sounds, I tend to use more of the intervallic ideas I demonstrated. That's just me, again, go nuts and do what sounds good to you.
seancd 1 year ago
great practice ideas, thankyou. ive been practicing this for a while. just to be clear when you were using 4ths and 5ths you were playing C,F,G or were you playing
F maj and G maj triads?
christophergradwohl 1 year ago
@christophergradwohl For the 4ths and 5ths example, I was using the intervals of a 4th and 5th and essentially moving them around on the neck chromatically for 4 bars while aiming to land on a more consonant spot for my 4 bars of inside playing.
On guitar, this is pretty easy to do if you know the minor Pentatonic scale as the 4ths and 5ths are laid out very comfortably on the fingerboard. I have the feeling I haven't explained this really well so I'm going to post some explanations on my site.
seancd 1 year ago
Alright Let me start by saying, THANK YOU! These videos are incredible. I am having a few issues understanding the concept of the 2nd approach. I understand 4ths and 5ths and am trying to understand and more or less emulate what you are doing but cant get it right. Can you explain the pattern that you do Right as begin the 2nd approach? Id greatly appreciate it.
Rdallaire 1 year ago
@Rdallaire My short, nearly useless explanation is play the A Minor Pentatonic scale (for instance) primarily emphasizing the 4ths and 5ths shapes in (A to D, E to A, G to D) THEN, move it up or down a half step so you're now playing either Bb Minor Pentatonic or Ab Minor Pentatonic and do the same thing with the shapes/relationships between the notes.
I know this can be horribly confusing without examples. I'm going to post some exercises on my site as a lot of people seem interested in this.
seancd 1 year ago
great lesson man
diminishedlogic 1 year ago
Ok, thanks!! you're very kind for sharing. Final clarification, I'm learning how 2 improvise. The song I'm learning is "Don't stop the Carnival" in C Maj by S Rollins. So, if I want to play modally, then I can just play D dorian, or any mode on the c scale? or if I want to play outside, I can play maj 3rd traids below or/and above the C Maj scale? etc. I love the sound of outside playing. I feel like jumping right into learning outside before learning inside, can I ? Ok, will wait 4 your vids
knowledgeispowerfful 1 year ago
@knowledgeispowerfful To answer your first question-- yes. I just put a post up on my site about modes, check it out for a more full answer than what I gave below. As far as playing outside before playing inside, I would encourage you to play what sounds good to you. Outside and inside are just words used to characterize sounds. It's the sounds that matter. My guess is you're responding to some of the tension created by outside playing. I would definitely encourage you to explore that.
seancd 1 year ago
Thanks so much!! So just to B clear about the mode, U mention c maj, and 2 treat D as the tonic such as calling it D dorian? and is this a basic rule of thumb in jazz when playing modal?
knowledgeispowerfful 1 year ago
@knowledgeispowerfful You're right-- the second mode of a major scale is Dorian. So, in C major, D is the Dorian mode. in E major, F# is the Dorian mode etc. The thing is, if you know the major scale, you already know all the standard modes. Just play the major scale from any pitch other than the key/tonic/I pitch. Additionally, *every* scale has modes, they're just another way to look at scales you already know. Not enough space for me to answer fully, I'm going to put a post up on this soon.
seancd 1 year ago
Very informative, thanks for sharing. So, whats the difference between modal playing vs outside playing??.
knowledgeispowerfful 1 year ago
@knowledgeispowerfful In a nutshell, outside playing is purposely playing notes that are not in the key of the song you are playing on. A mode is just a scale with a different note emphasized as the tonic or I chord. In a C major scale, the tonic or I chord is C major. A *mode* of C major is to treat one of the other notes from the scale as I, like D for instance. Video is coming on this. It's much simpler than it sounds. Maybe I'll throw a quick post up on the site to just break it down first.
seancd 1 year ago
Thnx for your lessons Sean.
I appreciate them a lot.
GiovanniGuitar 1 year ago
Great ideas, Thx!
hkjazzman 1 year ago