3 Simple Ways to Play “Outside” – Jazz Guitar Lesson
Here are 3 ways you can play outside- the video focuses on Min7 chords but you could apply to any chord type! Going to start uploading quick no-nonsense lessons like this for those of you who (like myself) don’t want to sit through a 45 minute lesson video on “the 1 thing these pro guitarists did to become ELITE!” I’ll be doing at least a couple more of these- focusing on “outside” stuff specifically. You’ll notice that in a lot of the lines I’m playing the same ideas just transposed to different keys, more on that later.. Forgot to mention that some people will harp on the 3rd subs being related to the diminished arpeggio or augmented triad but I just think it sounds cool š Let me know in the comments if you have any questions and what kind of stuff you’d want to see next.
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#Simple #Ways #Play #Jazz #Guitar #Lesson
Originally posted by UCFAoUeDELQWWltTT5-KYItA at https://www.youtube.com/watch?v=SGTqhBJ97KU
NICE SOUND ETC..BUT CAN'T SEE THE ENTIRE GUITAR NECK…
Great lesson! Thank you!
Great stuff! Itās such a simple concept.
Beautiful the power of minor chords tonality ????????
Sounds like D minor 9th….
Trumpet player is warming up rather loudly in the kitchen of the club, club owner says, "take that outside!" So the trumpet plays the same thing a half step up…
Great stuff Cecil. Well put together, easy to understand & expertly delivered for people to see how its done. Love it!
I am re-watching this after some time…First of all great lesson and examples man,..i am studying more Gypsy Jazz, but i came back to your video for excellent bebob kind of examples,…are they Jazz Etudes or particular lines of someone.?..particularly 2:35…love that expression…excellent…!!!
one of my favourite ways to play outside is to just throw around a basketball with a friend. but sometimes its nice to bring a bike or skateboard too
Thanks!!!
Perfect time is essential to execute these ideas so that the make sense.
I don't like you
3:23
Cool thanks! ????
Cecil, first of all – THANK YOU for this rich knowledge !
Regarding possible lessons –
Did you get into those Martino cycles where he had those geometric shapes but were like chord synonyms of each other?
– its been about 20 years since Iāve seen that (it was diminished and augmented cycles – something like that )
Super helpful, thanks!!
I enjoyed listening.
This is wisdom right here. Secrets. It is difficult to intuit something like this with ear training alone because it requires you to track polytonal harmony in real time. Standard jazz harmony is already difficult enough for most. Tracking two or more keys simultaneously requires breaking out of the formal system that ear training and music theory are taught in. Have fun figuring this out by applying solfege to sets of notes that are almost entirely in another key. I guess they call it playing out for a reasonā¦
Also if you need to see exactly whatās being played in order to understand something like this then itās probably out of your reachā¦go learn how to play a G major chordā¦in tuneā¦The point isnāt to copy this guyās lines note for note. If anything the transcription is more useful for mapping out the relationships of each individual note to the chord itās harmonizing with anyway. And if you actually understand what this dude is saying you can apply the ideas yourself and make your own lines.
Great video. Subscribed for more info about this type of playing.
Love that sound
That was extremely helpful. Thank you.
Nice door knob
this could be extended to major7 or dominant chords?
I appreciate the video and tab my brother but the door knob gotta Go! Fix the camera for next video, still big thumbs up and nice licks!
I played outside once but it started raining.
Good stuff. A suggestion though. on a lesson like this it would be much better with a backing track or just a vamp recorded into a looper pedal and played back while improvising. It would just be better to hear the substitutions over the respective minor chords. Anyway, great stuff
Awesome stuff!!
Can you give me one or two examples of famous recordings where you got these ideas from? ????
Cecil speaks: this makes sense
Cecil plays: this is f*cking insane
Simple but really useful lesson and astonishing demonstrations !!
Great work !! Look forward to see more
In less than 5 min everything Iāve been wondering for the last 20 years. I love you.
Killer playing and vibe cheers
Se ve claramente la perilla de la puerta ????
Nice work ????????????
How about using major from half-step lower? In case of Dm7 that woud be Db lydian/ioninan/major pentatonic? I remember some guy saying that this is the old trick many famous jazzists used. This concept seems based on mixing major / minor tonalities in the melody. In this case Dm7 can be seen as III in Bb major while Dbmaj7 is bIII from parallel Bb minor. You can also find similar connection between VI Gm7 and bVI Gbmaj7.
Thank you for taking time out of your day to do this.????
ayo it might just be me, but the fact that he was like āitās simple, just use the scale a half step above / below; like thisā and then proceeded to display years of fluency and experience in the bebop language via a single lick cracked me the hell up!
Thank you! ????????
Thank you, that was really insightful!
I love the minor thirds/major thirds idea. Iāve flirted with that as a result of exploring the major and minor triads of the diminished scale and augmented scale but havenāt gone directly at it like this.
My favorite approach to outside playing now is that whole intervallic improvisation idea of picking two intervals to alternate strictly between while switching direction at will. Out of that general idea, emerges a bunch of non-harmonic patterns that Iāve grown comfortable with and can string together an unlimited amount of ways.
You can do it with any interval pair but Iāve been really focused on whole-step/half-step, so far. It sounds like a floating diminished scale that doesnāt care what the chord is. Iāve worked with whole-step/minor-3rd some and that sounds like a floating pentatonic sound. Looking forward to working with whole-step/perfect 4th, though. Floating suspended.
Hi there Cecil, hope you're well. Recently discovered your channel, it's excellent and very rewarding.
Having played guitar for almost 40 years, could you give me any advice regarding playing lead lines at speed? I'm a relatively proficient player, not spectacular, but I'd like to 'up my game', and knock out some faster lines. I appreciate it's not about speed, but I'm wondering, at my age, have I simply reached a point of no improvement?
I play every day, have studied some comping, some Charlie Christian lead lines, some Tiny Grimes, etc. I can hold my head up with jazzing the chords, but I don't seem to be getting quicker with lead lines. I'm happy playing changes, as they say.
Is muscle memory holding me back? Any suggestions gratefully received, and apologies for the rambling message. I really appreciate your videos. Peace and love.
Thank you, Cecil.ā????ā
good stuff.thanks.
This is brilliant, will go though all the lines shown to understand how to create lines to outline chords. I never really understood that.
Wish I could see your fretting hand the entire time! Great vid though! Subbed!
looks cool but too fast and we dont see your left hand ? ok !
These concepts work really well for bass too. Thank you for this lesson.
Loving those concepts! Thanks for sharing!
Tell us about enclosures and scale permutations in soloing
This is good content, short and understandable, ty
you need to check out this German jazz guitarist. She is impressive. Tina JƤckel https://www.youtube.com/@tinajackel
Great lesson and I dig your teaching demeanor. You remind me of a friend of mine whoās one of the coolest guys Iāve ever met