Playing Outside - Peter Martin | 2 Minute Jazz
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- čas přidán 11. 11. 2017
- Watch the fully transcribed version of this video: openstudiojazz.link/6ve
Peter demonstrates how to play outside of a chord while in a different chord... but still be in that chord... It sounds like magic...
transcription: gum.co/ellPO (by Lukas Pfeil)
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What's going on, everybody? Peter Martin here, for Two Minute Jazz Piano. I wanna talk to you today about playing outside.
So, (jazz piano) normally when we talk about playing outside, we just mean shifting harmonically from what the actual chord we're
on for a little bit of time when we're not supposed to be changing the chord. But we use that other harmonic area to build our melodic ideas off of.
If we look at D Minor, (jazz piano) we're just, you know, we're
kinda sitting there, right? (jazz piano)
It's kinda obvious at a certain point, I'm leaving D Minor. Now, you know, Dorian, it's all white keys so you can tell when I'm
doing it visually, too, 'cause I'm going up to non-white keys, but the sorta obvious place that we go is a half step up, which works nice (jazz piano) so we can kinda shift up there at any time.
But I want you to think about some other areas to go outside, as well. (jazz piano) And these are, they can really be almost anywhere. We're thinking more in terms of triadic pattern. So D Minor but I'm going up to (jazz piano). E, E Triad.
And then E flat, major triad.
And even D triad, even though we're going to D Minor.
Then I'm going to B triad.
And you hear I'm doing, as opposed to a straight triad, (jazz piano) 'cause it gets a little bit basic, I'm adding in that fourth kind
of as a melodic passing note.
(jazz piano) right? (jazz piano)
You know, you do that if you like the sound. (jazz piano)
And then, you know, in terms of your comping, you probably notice sometimes I'm really sticking straight with what I'm doing melodically with my comping. (jazz piano)
But these voicings are actually, those are a fourth, but, you can also play things that move in the same direction with the pattern that you're doing when you're playing outside.
(jazz piano) that are not actually the chords for what you're playing.
What I did there was (jazz piano), that kinda matches but
then I went (jazz piano).
I'm still doing the major, (jazz piano) moving chromatically but I'm
taking that fourth voicing and moving it chromatically, as well.
(jazz piano)
And the whole thing, remember playing outside, you're shifting, you're going somewhere else and then you're coming back. You can't play on the chord and then leave the chord and stay away because then you're outside forever.
You gotta bring it back home at some point. Happy practicing.
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Check out more videos and courses from Peter Martin at www.openstudionetwork.com/piano/
I love the sound of those outside triads with the added 4th - sweet and sour licks.
In less than 5 minutes you touched on upwards of 3 topics that I'm struggling with, and managed to explain them in a way that really helps me get a better understanding. Thanks, Peter!
Yes!!! 🙌🏻🙌🏻🙌🏻
Wew wkwo2prr9oowoe8r dwiwieii22qwan oaq98r89o8w44
Really?? 😂
Dude you are such a shredderrrr. Your harmonic language is literally off the charts.
I love playing outside , particularly on an 80F day with a light warm breeze by the ocean ...
Very funny, I didn't think of that!😁
there's such a pleasantness to your playing and to your teaching! :)
Peter that’s literally mind blowing. For a long period of time I was trying to understand how to shred over these pentatonic scales and sound more professional and now it’s done! Cause many different modern jazz pianists such as McCoy Tyner, Kenny Kirkland and many others use it a lot. So thank you!
Outstanding series. Fantastic explanation and no unrelated garbage. It's probably the most effective 4 minutes I've seen
Thank you. When I hear 'outside' & get away with playing a few bars of it, I always think it's a fluke. You have explained why it works. It's good for confidence to know that there's some theory behind it & we trust our ears.
Now there's even more stuff to practice. Your videos help a lot of players. Thanks again.
Great explanation and demonstration. You da man!
Absolutely brilliant!
Oh man , this sound so amazing
you sir are the man! Thank you for making these videos!
Just Beautiful Thank you
you da man Peter thank you for all you do and for sharing
Seriously good instruction, clear, concise and awesome playing!
Incredible!! Thank you!
Thanks Peter!! Great lesson
Omg this man is amazing
Great concepts, great playing.
Great explanation
Fantastic playing. !
Peter you are the best
Bravo
Thanks !!! The thruway to learning processes.
So nice ..a jazz education in 2 minutes for real.. sparkly technique !!
God bless! ! Very cool! !
Fantastic.
I️ always look forward to your videos! Inspired practice today. Thanks!
So good !!
Exactly what i was looking for. Sounds awesome.Thanks!
Great Stuff Peter, Thank You!
Thank you Peter!
Very clear explaining to me. Thanks man !
Arrrghh! You make it look so easy!!
wow amazing learning today!
Wonderful lesson. Thank you!!!!!!!!
Fantastic!!Lesson
Sounds GREAT man! Thanks for the inspiration!
Great vid Pete, thank you
You were able to help me make sense of solos I have enjoyed by Chick,Keith Jarrett,Herbie and many others.Thanks for opening the door to understanding this theory.
wow totally amazing videos. Thanks a lot !
You really know how to unlock me !
thank you so much for your help !!!
Thanks!
This is useful!..great lesson sir I like what you doing
Saludos Maestro....Increible manera de compartir sus conocimientos...Algo novedoso para mi....
Really great videos! Thanks a lot Martin! :)
thank you Peter
Very cool and modern patterns!
Terrific skill
This dood shreds!
Very cool vid thankyou 👏👏👏
So cool! reminds me so much of Chick Corea.
Amazing man thanks for this great explanation
Incredibile video in soli 2 minuti!
Damn that was very cool. Wish I would have heard all this 50 years ago. I would have been a monster on any instrument. Thanks for sharing...
Wow, great, thanks!!!
😅mind blowing as usual
I have FINALLY found what I'm looking for. Time to practice
Excelent as always. 👍🏻
Luis Rodriguez Dorantes nice profile image though
Gracias Peter por los videos, el mejor canal de Piano! 🎹
🙏🏼🙏🏼🙏🏼 gracias amigo
The most significant factor of playing outside successfully is the spot on rhythm in my opinion, otherwise it sounds really wrong :D
Great!
Super dope
Great stuff Peter! I'd love to see how you go inside and out over a chord pattern, though. For example, when playing jazz standards where can we find opportunities to go outside the progression.
Huge help!
Damm son...that was amazing...reminds me of Chick Corea!!!!!
Just went to the site. Thanks for putting those resources up there. I'm sure that I can glean some good stuff there.
thanks again
Wowww... tks
This guy is a jazz monster
Dude you're a monster. Holy crap.
Good
great stuff.. so clear, no waffly bullshit.... (i'll go home later and fail to put it into practice, of course.... but for now there's at least hope!)
Hi Peter
I really love your playing and instruction. Wow!
Could you do some outside examples (like in this video) but keep the comping extremely simple? For example, stick to just one chord or inversions of it. It would really help me in getting the sound in my mind’s ear.
Nice reverb
sir how do u want what soloing when change the medoly
Really love those McCoy Tyner concepts but those outside notes sound great because o the chords behind them give them logic. For other instruments they don’t work as well.
Didn’t know its possible to go outside if the chord is in minor. Do you have a technique what triads that can be played in minor chords. Thank you.
How do you apply this to chord changes rather than just single chords and modal songs? For example how would I apply this over On Green Dolphin Street?
Watch it in 2 min and work on it for years
Damn
You are "the"man!are you teaching at the julliard?so inspired and versatile..
POW!
bel sapore :)
Sounds great. Reminds me of Chick Corea.
Hello Peter and (Adam) I love your show Peter I’ve learned so much from you you have turned my playing around so much I want to travel to Open Studio ( I’m in California unfortunetly) your show is the best thing onYou Tube period.I hope you read this I know you Are very busy! You have inspirer me out of my skull I’ve replayed your videos hundrede of times- I have a question: on the playing outside you have inspirer me to create something on my ovn: going up to the Ab min. 11- I play a Bb 13 and go down chromatically: Bb13 A13,Ab13,G13 etc. and on the right hand I play F,EC,G( 5,b5,9and 13 for the Bb- then for theA13 the same going down: so I hit the 5 the b5 , 9 and 13 of every chord- you have inspirered me to do this because your teaching is so awesome! I. Want to order some materials ( my daughters going to for my birthday!) I hope you Antwerpen me back- I know your’re busy- thanks for your show it’s amazing,! William Le Us the loneliest musician in the world,
Queria muito entender oque ele fala...parece explicar muito bemm
🤯
I want him to do this on synthesia
So that I can try to copy what he did here
Really any scale that contains D including melodicminor scales that include D also there is no reason to limit yourself to pentatonic shapes. Like try superimposing D-7, F7+11,D7+11,Bbmaj7+5,Abmaj7+5,Dalt7,D-7 all over a D pedal. Play it inside with chords.
paxwallacejazz bro that was so simple but you helped me very much thank you!!!
This is the shit... Thanks!
What chords are on the left hand? I often heard that voicing but I can,t get how to voice it
Quartal voicings, a fourth apart, D, G, C. etc. The McCoy Tyner "modern" sound.
C'est vraiment cool Peter. On dirait que le tempo rapide donne un autre sens aux phrases que tu joues... You see what I mean?
great video any free resources
Peter Martin Thanks mucho. Lots of ideas. One of my favorite outside pieces is The Firm movie
Sound track. I like going just enough outside that I don't lose the chordal qualities.
@@PIANOSTYLE100 The Firm is great but to my ear it's just standard blues and jazz, it's not really playing outside
@@AndyLowe-net Now Monk played outside. At least to me it was .
Yeheah bro!!!!! Smoking......... :)
I like that he ended with “You gotta bring it back home at some point,” because I agree with him! When guys just zoom into the stratosphere and there’s no harmonic context any more, it feels too much like that old quote (from Stravinsky?) about “playing tennis without a net.” It kinda feels pointless. Even some of MIles Davis’ music with his second great quintet (Wayne, Herbie, Tony, Ron) felt that way to me. On one level, some amazing playing was going on, but when it’s just “rhythm-no changes”, then I kind of lose interest after a while. I actually liked his 70s electric stuff better, because a lot of times there was a very basic thing going on-like a one-chord vamp-so that no matter how far out the playing got, you knew where “home” was. I dunno, anybody feel me on this?
The videos going a little fast but sounds like you're playing for the voicings in the left hand. Anyway you can show us what you're playing in your left hand?
Eurika.
Very interesting video. Would it have been more useful to play more slowly?Anyway, thanks for your teaching.
Please teach it slowly the run notes ,so that we can learn it fully,
Very Dave Grusin like, which is Nirvana