Bravo , Terminetor on Piano

Hi, I'm Odino, I'm a pianist and I've been studying and practicing Jazz harmony for a while, I'm very attracted and interested in this type of "outside" improvisational approach, I followed your tutorial on this topic but honestly trying to put your indicatons into practice I couldn't get a satisfactory result maybe because I didn't understand what the right way and technique is to exit and re-enter the key so that the result is beautiful and sounds good, you do it with great mastery and elegance, I can't do it maybe because the topic is elaborate and must be studied with method perhaps with practical written examples, also here you only dealt with minor chords but on 7 of dominant, Maj 7, semi-diminished how can you practice outside? Please I would like to know if in your courses there are specific lessons regarding this topic of outside impro and how can I get/buy them Thank you very much

Simplified explanation: 1) Use the familiar V to I progression as a device for playing outside the chord changes. 2) On the V chord, get all the spicy altered notes by playing a minor pentatonic scale starting from the #9 of the dominant chord (for Bbalt7 its C# minor pentatonic) and then resolve the line to I chord (Ebmaj7). 3) This same V to I structure can be transposed to all keys as an outside playing device against a static key center (here the backing track is in C minor).

This is effectively how Jan Hammer plays... Awesome stuff to listen to... Takes you for a Ride 🚗💨😊‼️

Too cool! Love the deviation at the end! You are a monster!

Hi, hope all is well. I would like to learn how to improvise outside like you showed in the video. Can we have a chat about lessons? Cheers

George: I've watched this a couple of times. In your example you select C#/Cm as an "outside" example, you select Bb Alt (V of EbMaj7). A Bb Alt (+9, b13) scale for improv was taught to me as a B melodic minor. I see the notes or enharmonic equivalents, but I'm not connecting the dots. The Bb alt contains a D natural and A#(Bb) that aren't in the C#m Pentatonic. What is the relationship between the two and the basis for your decision? Thanks for the any light you can shed here.

So glad to find you here!!

Thank you! Great material, nice lesson (s); there is only one issue - the animated stave (it's a bit too disturbing).

This is great work

This lesson is so good. Thank you sir. As a guitarist, I was told to lay off scales for the exact reason you showed in your "bad" solo. I think of the chord tones - if they happen to be in the key of C just because they're all natural notes, so be it, but that is not the point. That said, adding the #5 / b6 on the major scale is pretty slick. Thanks!

Dude, i heard it. Never occurred to me.

I believe that George requires a lot of knowledge here. In fact, all notes of C#min Pentatonic are included in the Bb altered scale. He is just so deep into this stuff. Great player and totally symphatic!

Brilliant lesson

(Part 2/2) Let me try to resolve the confusion by addressing the two specific (but distinct) issues you guys bring up: 1) What does a V-I of Bb to Eb have to do with Cm7? 2) Why on earth is C# pentatonic the right scale to play on a BbAlt? Point 1: In my understanding, this depends a lot on how exactly you voice your Bb and Eb chords. Let's assume you're playing by yourself and you don't have to worry about what other musicians in the band are doing (it requires more skill/cooperation when others also play harmony, but the principle is the same). Say you're playing the following 3 note voicing in your left hand for the first chord: E-Ab-Db. If you put a C below it as the bass note, then this is a C altered chord (3-b6-b9). But if you put a Bb as the bass note then this is a Bb altered (b5-7-b3). So, if we leave the bass note out, in our head, we could think of playing over BbAlt or Calt. It's the same voicing in the left hand! Likewise, if we move all notes by a half step to Eb-G-D we now either have a Ebmaj7 (1-3-#7) or a Cm9 (b3-5-9). So, by choosing these particular voicings, we can think of that chord sequence as either "two flavors of C" or as a V-I in Eb. It's the exact same notes. What (I think) George is trying to say is, if you already know how to play cool lines on V-Is in Eb, you can just repurpose them here. It will be more logical to you to think of a V-I (b/c you've practiced them 1000 times in all 12 keys, and have oodles of cool licks ready for them) rather than two obscure flavors of Calt that you need to navigate in the heat of the moment, and it will allow you to "mix it up" a bit rather than playing the Cm blues scale for 5 minutes straight. Point 2: It turns out that the first voicing (our BbAlt or Calt) is also the first inversion of a C#m triad. Hence, the C#m pentatonic scale works perfectly over a C#m triad. It will sound "unusual" from the perspective of Cm7 (that's the whole point of playing outside!) but it won't clash with the harmony you're playing in the left hand. And similarly, by design, on the second voicing you're playing Cm pentatonic again because Eb major pentatonic and C minor pentatonic are the same thing. The beauty of this particular example is that you're moving "a half step up" (C->C#) and then a half step down (C#->C) which makes for some nice tension and release in half steps. Also all the notes in the two left hand voicings move by a half step, if you're even playing the harmony at all. It will sound even more mysterious if you're only playing the right hand (like a sax player would do), but b/c you're mentally playing over a V-I you'll have a nice line that resolves (if your line nicely resolves over the V-I in your head, then it will also resolve over the Cm7). But if you want to give yourself and the the listener a "crutch" you can play the two voicings with the left hand and it will make "more sense" to everybody. George's bigger point in this video/demonstration is that you can make this work with ANY of the 12 pentatonic scales! It's not always going to be a V-I (like the second example he gives) but some other standard "bebop vocabulary" that he assumes you already know and can nicely repurpose here, without needing to practice any new scales or chord sequences. I hope this made some sense. Let me know if not.

(Part 1/2) This is a fantastic discussion! It seems like there's still some confusion here (unless I missed it). It made me think really hard about whether I understand it or not (I think I do...). And since I learn the most from trying to explain something to others, let me give it a try. We're dealing with a few separate issues here, and I'll start with some preliminaries: 1) This is a fairly advanced concept in George's curriculum (clearly a KZbin teaser. You'd learn the whole truth if you sign up for his lessons, which I personally think are FANTASTIC!). He implicitly assumes two things. First, you already know how to play pentatonic scales in all keys and have tons of licks and other stuff at your fingertips on all of these scales, that you're ready to use at any moment without having to think about it. Second, you can play V-I cadences in any key in your sleep. Like a seasoned bebop player would. This is not necessary for what he's explaining but his logic makes more sense if THAT is your starting point. 2) The mission here is to play "outside" the harmony. In my understanding this applies primarily to "modal jazz" where you're playing a particular "mode" and the details are up to you. For practical purposes, this would be a situation where the chart says "solos are over a Cm7 chord", and that's it. Now play a solo for 5 minutes and make it sound interesting. Only Cm7. The art is to "leave Cm7" as you desire BUT to "gracefully find your way back home". 3) George is trying to provide a simple (mental) trick/system/logic that allows you to do what I describe in point 2) by simply "repurposing" the skills/tools (which he assumes you already have) mentioned in point 1). In fact, he demonstrates that his trick/method/system allows you to visit any key you want and gracefully come back to Cm7 while only repurposing the things from 1) that you already know. So, if you don't have all this bebop vocabulary already baked into your brain/fingers, then I think his "trick" is a little less useful (on the surface at least). How does this work? See my next post (part 2/2).

Cool.

Merci 👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻

How can I incorporate this into blues fusion and rock

This, for me, has always been obvious. I have spent my life playing jazz with literally NO training or serious practice and had SO many opportunities open for me, some of which were WAY over my head or outside my wheelhouse, and could not figure why. I think this is the reason, I naturally hear like that, even though my technique kinda sucks compared to today's demands. Thanks for this.

Im only here because i was curious was the reverse name of Home - Resonance I did outside harmony And now im here and This is definitely the reverse type beat of resonance

I don’t feel it’s tension. To me it feels like dreaming

Oh ya I’m feelin that shit

Thanks so much, George. This answers questions I've had in my mind for quite some time. I'm a jazz drummer learning to become a musician, so this really, really helps. Thanks again.

Hey man...I'm beguinne jazz piano and Brazilian. Like this 🇧🇷!

Thank you from Hamburg, Germany!

Really nice jazz lesson, thanks a lot !

Please make more tutorial about jazz piano. Thanks

Sweet revelations as always!

Very Root...

This didn’t make any sense at all. You missed explaining how a 5-1 relates to C#m. You’re example is to consider it being played over a Bb7alt. Why?? Bb7alt would normally resolve to EbM or Ebm key…how does that relate to C#minor at all? I was considering lessons but if you miss these fundamental explanations I’m not sure I would be able to follow. It also doesn’t appear that you answer any questions on the channel so I’m left disappointed.

I love you playing I’m a bassist wanting to play lines like a keyboardist I’ll contact you

Tasteful, NOT just fast and flawless... but with musical purpose!

I watched this when I first started piano a couple years back but its only now that I understand it. This is a diamond mine of information to improve as a player. I'll be sure to pass it on to my accountant.:) 13:10

kzbin.info/www/bejne/qmPOaXt-o8-Hhrs What scale does he use when plays outside ?

THANKS FOR THE LESSON!! btw, you are way cute!!!

I don’t think it communicates with the listener. Too fast, to intellectual, too widely little emotional content

your bad solos would be something I would have to spend a few days on just to come up with let alone be able to actually play decently.

wow, did you use sibelius program? how did it work immediately? is there somebody, anybody who know how it write down notes at the same time on sibelius :(

Wait. This seems overcomplicating. Why use an altered if you can just think of the pentatonic. It's two steps in the mind : C#m pentatonic so Bb7 altered. But why not juste think C#m penta then. Especially in this case thinking of the altered one works because it resolves on Eb the relative major of Cm, so it only works with Bb7alt/C#mP... And also since Bb7alt is Bm melodic why not just think of Bm mel resolving to Cm. I'm not sure many of us already think Bbm penta over G7alt for example. I personally think Abm melodic. So I will not play the same if you tell me play Bb7alt/Bm mel or play C#m penta. Not being salty here, but this just seems to be complicating the stuff, we could just think play the penta of another minor with the right approaches and resolve to the tonality with the right approach.

Why was I thinking Chick Corea before this guy started ?

Barry Harris everywhere.

Great advice, thank you!

If that was a "sad" solo, my solos are downright despondent.

Sick lines!

Nice! I was recently learning about this scale from the Barry Harris method... the diminished 6th scale.

The out of sync solo sounded killer as well?

I hit the thumbs up on the beat.

Wich program used on this video to show notes?

Great! Harmonic rhythmic coherence is the key to becoming musically free.