How to play "out" like Scofield and Scott Henderson

[@A423-f9o]

This lesson is GOLD!

[@Fitzliputzli23]

Seriously, guys, with this video we finally enter "real deal territory". It is like the recipe of a magic potion that may only be passed from one druid to another. Thanks for sharing it with us regular Joes!

[@omko73]

This makes scofield the Obelix of guitar?

[@gonbabence]

the keys to the lamborghini

[@somaticspirituality]

@@gonbabence Michael Angelo Batio reference?

[@boogjii]

this is the best lesson i’ve ever had. exactly what ive been looking for thank you !

[@MrAcollett]

I have been chasing that sound for thirty years, bless you.

[@LeviClay]

killing it as always man

[@johnhahn1877]

Great stuff Dani! Ive not seen this vibe explained like this before. Brilliant. Jazz cats are going to put out a hit on you for letting their mystery mojo out of the bag😅.

[@winstonsmith8240]

Cracking. I know the diminished scale pretty well, but it often sounds like, well, the diminished scale. This takes it to a new level. Quite frankly...brilliant. Well done, and THANK YOU! ❤

[@omarpervaiz]

Awesome! I've been asking jazz friends for something like this for rock players for years now. You nailed it! Tabs to go with it would make this a great go transition to jazz fusion lesson.

[@PhillFest]

Fantastic and well explained. Been toying with diminished triads in my playing for years, but this was SO obvious! Love it! Thx!

[@marbinmusic]

Glad it was helpful!

[@MauriceBierhuizen]

How on earth could it be that I've been listening to Henderson and Scofield for 30 years, and never figured this out.... Hahahaa. This must be some secret jewel only shared between the greatest players on earth 🤣Thanks Dani, I know what to practice next couple of weeks

[@marbinmusic]

Hehe you’re welcome man. Check out more vids on the channel

[@winstonsmith8240]

Me too! Same. Hope it's going well. It's now at the top of my 'to do' lists. Unbelievable.

[@MrMjp58]

A superb explanation. The tone of the guitar is exquisite.

[@이선흠-g1u]

Daaaaaummmmm that is most killer lesson its gorgeous mamma mi a!!!!!!

[@kevinmunoz2004]

Subscribed! Love the vibe and explanation of your lesson

[@basgerritsen9669]

Another thing to consider is when Scofield is playing "outside" sounds, it's very often in order to "suggest" a different chord than the one that's being played, he's basically substituting another chord over the changes. It's not random most of the time, he can really outline some different chords. E.g. let's imagine he's playing a b-flat blues, when he plays a lick using a derivative of the b-flat diminished scale over the 4 chord or a associated chord, he's outlining the d# dim chord that's often subbed in after the second 4-1 change in a jazz blues. This is a really interesting thing to experiment with: try and outline a chord that's related to, but different from the one that's actually being played and you'll get some really cool outside tones that will still sound "right" to most people's ears.

[@marbinmusic]

Yup basically what this is about. Just finding those subs in the diminished scale

[@khudson4901]

Your right. The vid is old, but the lesson is Gold. Why I'm a subscriber. I can't see all is stuff, but it's Gold.

[@williamboris8014]

Excellent, practical, guitar friendly explanation of the diminished sound and application!

[@jcmd2473]

Great lesson!!!! you open my mind!

[@nakoshoko1]

Thanks for that lesson! Your playing is great!

[@hervemerliet]

KZbin needs more vidéos like this one. Thanks a lot.

[@marbinmusic]

More to come!

[@electromatic2014]

I'm out of words, just amazing, thanks for sharing!

[@Guitarmfig]

Excellent lesson, thank you

[@jazznerd3823]

Great lesson, man.

[@marianovico4933]

Your lessons are very good, so is your playing and sound,no speed for speed and meaningless notes but excellent choice of notes in the best instrument and best style ever...(guitar and jazz-rock fusion, all the best buddy and greetings from Havana Cuba.

[@stevengrinold3203]

Awesome Dani! Thanks for this

[@JOVO1971]

Very cool idea, thank you!

[@gabrielkeam6106]

don't forget you can play whole tone and outline augmented arpeggios off the fifth which can move in whole steps for a cool effect

[@winstonsmith8240]

I'm just going to write that down. Thanks. 👍

[@bitcoinman9202]

Oh ya? I will redo test it

[@kevinmunoz2004]

I kind of understand , will definitely be studying music theory to be able to fully understand the concept . Would love to be able to add this to my playing

[@garthirving1056]

Excellent lesson...

[@PedroSilvaMusic]

Great job!!!!

[@bnpapp]

I will be sending a contribution to your site... Enough for a fine meal and a craft beer or wine. Thanks again.. Carve on maestro

[@triclone123]

So good! Thank you!

[@ТимурПятигорець]

Cool! Thanks!

[@stevengrinold7631]

Awesome as always Dani! Thanks!

[@scottgallagherguitar]

Can't wait to take this to the woodshed!

[@deaconfuse3850]

Awesome lesson, Jimmy Herring seems to do that a lot too. It is one of the most badass sounds to me for some reason.

[@randyhetlage9202]

all git guys do it

[@jakollee]

Yeah, I love the sound of the "outside" playing too and I'm a big Jimmy Herring fan! Another great one to check out is Shawn Tubbs - the licks he plays are crazy sounding but somehow they work!!!

[@aurimasgalvelis]

This is cheat code! AMAZING!

[@jamesfarrington9030]

You have a very distinct sound coming out of that Strat. Nice phrasing, too.

[@TheBluebirdsBigBand]

Good work thank you.

[@markjacksonmusic21]

Amazing man! Thank you for this. So simple!

[@zziemka]

best guitar solo lesson ever seen ;)

[@mikekohary1075]

Damn, that's genius. I'm gonna practice that right away - thank you!

[@miguecast]

Thanks, man!

[@RonaldoAguiar]

Great lesson! Thanks a lot!

[@MrYevis]

Thank you Dani this is wonderfull. Love your tips !

[@joelgueller2979]

hi Dave great information toda rabba

[@chrisbrennan9173]

this will be added to my repa trau. thank you!

[@MalcaratMartinez]

THANK YOU !!!!...... first guy I see speaking english to us illiterate blues / rock players :). This is GOLD !!

[@agent_o_range]

That’s a sweet looking guitar!

[@leifkeane]

I want me some of that!!!

[@praxitelisnikolaou9764]

Awsome stuff!

[@BrianKlobyGuitar]

Most awesome

[@guitarleejonshon4025]

Very thx for the tips!!, I love that Mr Henderson's way. \m/

[@7wheels]

Thank you so much. 🎸🎶

[@gregchambers6100]

That's so freaking cool.

[@felipeeyer4481]

Thank you!

[@dominicdemercurio7933]

Brother THANK YOU!

[@ThomasNeily]

That's cool marrbin good tips

[@marbinmusic]

Glad you like them!

[@wolfgangcordsen3430]

Hey very nice lesson mate!

[@benjasep66]

muy buena explicación, necesitaba ver este video, :), y además muy genial la Marbin, saludos desde Chilee

[@scallopedshredify]

Too damn good thanks for another great lesson! Love Marbin

[@bnpapp]

Thanks amigao! Your lesson has created great pivotal point in my playing.... My taste and view for the guitars future is this.. Sco (red shirt Miles) meets ZzTop meets Pat Metheny meets Hendrix. (throw in the Dan too) and Danny you have made me a better Sco and Metheny inspired player thanks to those brilliant lessons of your

[@Bigmouthstrikes82]

THANK YOU

[@victoza9232]

0:28, 0:32 Stank face is a must to master outside playing. I think that, for those not entirely familiar with outside playing (but who have mastered stank face), it would have been more helpful to have provided a chordal accompaniment to illustrate how particular note choices against certain chords create the outside sound.

[@stringtheoryx]

Really nice concept and presentation! You get a very good 'transparent overdrive' sound that's appropriate for what you're playing. Can I ask how you recorded that?

[@antonioberuff5033]

Nice

[@waynegram8907]

Make more Scott Henderson Out of key notes lessons

[@marcusgandier3913]

nice

[@Swizzenator]

SICK

[@pablouuuu]

Killer sounds!!!

[@danqodusk8140]

Pretty cool. I've never heard anyone refer to a flat3/ minor third as a sharp 2nd.

[@14369164]

nor I in this context but valid all the same,great lesson!

[@scottmartin5492]

When the major third is also present, it’s more usually referred to as a #9 - see the "Hendrix chord," for example, which is a 7#9.

[@cutronixxx]

?!?!?!? 😮😮😮😮😮😮😮😮 You made it so much simpler to approach. This and your gypsy jazz arpeggio lesson. THANK YOU. Thank you for all the other stuff too. Yikes

[@marbinmusic]

You are welcome. Tell your friends

[@cutronixxx]

@@marbinmusicDamn right, I did.

[@cutronixxx]

@@marbinmusic Do you give virtual lessons?

[@marbinmusic]

@@cutronixxx sure email me at [e-mail]

[@Local-Bus]

Thank you for this easy to understand lesson. Question: this concept is for a minor chord thats also the root of the key but not if it's the II chord of a II-V-I for instance?

[@wantfnjones]

🔥🔥🔥🔥🔥💯

[@davidsmithweck2412]

Can I do this with a capo? ha ha just kidding!! This is solid gold!! Thank you for this!

[@falschnehmung]

triple gold ... ! Tnx !!! 5 THUMPS UP !

[@ville_salojarvis_lakewood_exp]

You make great and informative videos. However I'd like to point out that it's flat three (b3), not shrap two (#2). A Major triad is 1-3-5 and minor triad is 1-b3-5. Your approach combines both types of triads and iyou get 1-b3-3-5 as a result. The #2 looks funny on paper and as a concept. I think the word "Triad" sums it up pretty well.😉

[@brianj4090]

This sounds great. So, would you say this is a strategy for dominant chords? Would you do the same for minor since the A dim arpeggio has a flat 3rd?

[@marbinmusic]

Yes ! You belong on our Patreon! Lots of tabs and examples of this stuff!

[@fernandoflores4907]

Daaaaamn!! 🔥❤️

[@VintageBassArchive]

ive been noodling cuz i forget to bend!!! yikes. now i wont screw up my second note when i try and do gypsy jazz.. thanks to seeing you bend just now EDIT: i play bass only, have you heard Scott Henderson 1995 THE BIG WAVE? live in israel (1440p version on my channel)

[@jaroneaton8023]

Yes, yes and yes!!

[@hansmeissner734]

Another typo: G is not #2 of F# (recte: A)

[@Cordmichael]

How do you associate the sound and the interval?Any practice suggestion to master that? Thank You.

[@bnpapp]

hi Dani,,,,went to your streamlab site to deposit some kale but the Ts & Cs i was uncomfortable with. any alternative you may suggest?

[@marbinmusic]

yup PayPal.me/marbinmusic or Venmo to danirabin

[@bnpapp]

Transfer just completed...cheers mate

[@ucciosoro2169]

Fa# con un #2 (Fa# Sol Sib Do#) i'm wrong or should it be (Fa# La Sib Do#)? Thanks

[@ryanclephane5522]

Is that a Django musical mfg. strat? Like Django knight?

[@marbinmusic]

@@ryanclephane5522 yup

[@ryanclephane5522]

@@marbinmusic I’ve got one too, you from the Midwest?

[@marbinmusic]

@@ryanclephane5522 Chicago, Zack is a friend of

[@agamhamzah2924]

Very inspire, is your style not Henderson or Scofield 🤟🔥

[@justinpaquette224]

Would you still use half whole dim on a minor key, like Dorian? Or would you use whole half dim?

[@billwilkie6211]

Whole half

[@Tocesz]

It works, if You wanna go outside.

[@tboyz1]

#2 🥰

[@youngandrew66]

I love vids that just go 'it's the diminished..' er... robben just play me that lick when you go to the 4 chord.. ah right thought so.. diminished my horse'

[@jbowerman50]

I watched Scott Henderson explain this, and he made it Very complicated. But I get it now , a triad on each note of the dim with a #9 added

[@HalJikaKick]

This lesson was HYGE! Thank you brother.

[@rabinserious1]

❤❤❤

[@effsixteenblock50]

Would this stuff that works on an A7 also work on a static Em7 chord?

[@effsixteenblock50]

11 months later.... Oh course it would! But instead of half-whole dim from the root of Em7, use half-whole dim from 1/2 down from the root. This is how to think about it if you want to still visualize it as a half-whole thing. Don't know why I asked the question in the first place - I knew the answer. Sleep deprivation?

[@sylwestersosniak220]

♥♥♥

[@azerreza4770]

Thanks for this video ! 😀 But the question is not "how" but "why". Why impose on our ears the torture represented by all these "out" notes.😋

[@Livsie]

If played tastefully and come back "home" to inside playing it sounds really cool, refreshing and surprising. The question is how much you stay outside, and that's your decision.

[@danjacobson1365]

Shouldn't the 2nd one starting with C read C D# E And G.... not D ??

[@marbinmusic]

good catch! fixed!

[@sat1241]

@@marbinmusic great lesson, sounds very Scofield. Question and you are saying play theses 4 sets over AM A C C# E C D# E G D# F# G A# F# A A# C# this A C D# E is being moved around and it's moved around on the basis of an A diminished arpeggio A, C, D#, F# Are those definitely the best sounding sets of moving that around chromatically or after A C C# E could a different 3 mores sets on some other positions still sound good ( but "out" also) ? I know the logic, that is being moved according to that diminished arpeggio but against the A major chord these they are pretty out and just sound like chromatic motion so could those be replaced with a different two out sets but with those same intervals or is there something special about those particular three after the initial one built on the root? thanks

[@marbinmusic]

@@sat1241 the notes can be replaced by any of the motes of the Diminished scale that corresponds with A7 (A half whole dim). This specific 4 notes have a sound to them that is sort of bluesy because it’s a major triad with a #2 (which is like major pentatonic with a blue note) . I think you need to think about the distinction between what works (which is what ever is in the scale) and what’s cool (which is the shapes in the scale that has a sound)

[@alessandrograsso8570]

Another way,i think the First way to consider Is " 12 chromatic approachs by Charlie Banacos for all the family chords/Arpeggios.He plays(like Sco) enclousure arround the root notes and he Is a Great Explorer about different Arpeggios voicing to other kind of chords.This Is usual from Who comes Berklee school,DiIorio school but It Is not new approach....Bill Evans was a Great master! Other think Is the altered scale(superlocrian)...This scale had "2 spin",First part like e semi diminished scale and. Second part whole tone scale! But anyway he think about chords and not scale,he doesn't play in position....and This is a Great problem about rock Guitar players that want ti start play jazz/fusion. Same approachs Is from Frank Gambale

[@eiiiotrodger6279]

Good tips but I'm confused why you say "triad". Shouldn't the A minor pentatonic get a minor triad, and doing what you're saying adding the 3rd for the Blues, instead of the other way around? Or I guess it;s the same idea just different way of looking at things. Either way thanks for this good tip I will subscribe so you can get some money.

[@nmmn939]

not bad😀

[@creator2986]

Fucking incredible