How We Play Out

Adam and Peter tell all in this episode focused on how to play OUTside the changes and the different approached you can use.
George Garzone's Triadic Approach
www.georgegarz...
Explore the Pod:
youllhearit.com/
Explore Open Studio with a FREE 14 day trial:
openstudiojazz...
ABOUT OPEN STUDIO
------------------------------------------------------------------------------------------------------------------------------------------------------------
As the premier online jazz education platform, with an ever-expanding course library and 20,000+ members, Open Studio (OS) has everything you need to excel and thrive on your jazz journey.
Featuring everything from beginner to advanced lessons, engaging courses from A-list instructors, step-by-step curriculum, real-time classes and a thriving and incredibly supportive community, OS is the perfect platform to level up your jazz playing, whether you’re a total beginner, or an advanced pro-level improvisor.
Try OS Membership today! → osjazz.link/about
Theme Song "Emotion in Motion":
open.spotify.c...

[@patrickshainin4542]

This is maybe my favorite episode so far. It's a whole Open Studio class worth of knowledge in one podcast, on details I've been trying to extract from transcribing these sounds in our heros' solos. Thank you for adding these explanations to that canon. Your teaching prowess is only exceeded by your playing chops!

[@guitatronik-lab]

OMG these Peter's takes starting at around 40min are on a different level!

[@davislowery1040]

Can someone cut together all of Adam's "AAAAAAALLLLLLLLLL your jazz needs". They get me everytime

[@kyleyoungmusic]

This intro!!! Y’all… 🙏 🔥 😮

[@skoto8219]

For the full hour!

[@andysjazztopics]

wow Adam & Peter - so inspired & inspiring!

[@OTR392]

I could listen to this for 24 hours straight!! LOVE YALL! Amazing talent, you 2 are such a gift to jazz improv. Rhythm is so important to melody, for sure!! Great discussions you 2 have. Thank you!!

[@robertoramirez1780]

OMG! This is a super class, level after level you guys are awesome! I have a lot to study and practice!!! Excelente!!! Amigos!!!

[@camtaylormusic]

Really great to hear more advanced topics from you two and getting into each others' heads about what you're hearing, playing and thinking. Loving the long format. Now i want to try and play along with this whole thing!

[@klauswassermann8054]

This is essential and profound to what jazz is to me. As a semipro bassist I'd have needed just all this condensed info 35 years ago ;)

[@caidencollins7696]

Yea I think the long form is the way to go. Love this.

[@pickinstone]

Just got up to the rhythm part of the video--YEAH! Hopefully my voicemail on rhythmic study and misconception lands right with you two. The more we explicitly talk about rhythm, the more we challenge "big harma" and jazz pedagogy. Rhythm, pulse, and the language of the drum. As Peter once said "you can't decouple the melodic from the rhythmic." That said, putting a magnifying glass onto the rhythmic component makes everything more precise and GROOVING. As I mentioned in my voicemail, too many folks sleep on Charlie Parker's RHYHTMIC genius because his melodic concept was so complex. You don't need odd time signatures to sound rhythmically complex--that's also in the speak pipe ;) P.S. Damn, Peter talking about Strand Books is like insider baseball for us New Yorkers... man I miss that sacred place!

[@ManchurianCounterweight]

if you have amazing phrasing, you can basically play the phone book and it'll still sound amazing. I think Oscar Peterson said something along those lines.

[@sergeymarchenko6252]

You both sound so good in this. Great job guys.

[@MrBobbyspark]

Thank you so much ❤

[@A423-f9o]

Extremely good episode! Love it! Thank you!!!!

[@Account81658]

17:40 that exercise sounds like it'll be very fruitful. I'll try it out, thank you!

[@martinlehfeldt5514]

Pedro's a killer. I need a whole album of peter playing outside.

[@wynd505]

This is an awesome lesson! I'm currently trying to improve on my playing out techniques, and you both gave me so much valuable studying material that I can use while obviously sitting at the keyboard, and even when I'm away from the board training my ear and brain. Thankyou so much!

[@jakubstojak8540]

the podcast has been so good lately

[@mathtrixmusiclix4248]

Lately?!!??..

[@geocosmicvalentine]

I just finished this episode, but it will never be finished. I’m gonna have to watch it in small chunks while playing/practicing over sooooo many months Because soooo much valuable information. Dense…with info. Therefore, gotta stretch it out like saltwater taffy, freeze it, then smash it into tiny bits in order to digest it. Thank you and woooooow… 😮

[@MrBobbyspark]

Lovely, I was studying N.Slonimsky and Y.Lateef

[@johnpepper5626]

Amazing you guys

[@victorcegarra]

You guys are the absolute best

[@MusicRGT]

I'm used to playing stuff slow when i practice. but outside playing sounds cool only when u play fast and rhythmically strong. that makes it harder to practice and chromatic transposing is still hard for me. maybe i‘m not alone here. a pdf with some licks would be great. as always: great job and thanks 🙏🙏

[@jarbasgoulartdecastro9104]

YEAH PETER AND ADAM!!!!! TX A LOT,TEACHERS!!!!!!!

[@EmilioConesa]

The hour flew by!

[@taagenletter6454]

As always great stuff. I like the very down to earth approach to this rather radical subject of music. When I started out, these topics seemed like something for the few chosen ones;o) Its nice to hear you talk about, and demonstrate this in a manner so that any mortal person can understand;o) I have spend my teaching life trying to make the hard stuff simple (and the simple stuff hard;o) Thanks from Denmark.

[@daniellandy7009]

peter is like a grand master and adam is so loveable

[@geocosmicvalentine]

This day has been so “OUT” that I haven’t had a chance to finish this “OUT” video about how to play “OUT!” But I can say that I’m totally digging Adam’s “out” shirt and to Peter I say, “Dude, life is short! We should all have a chance to wear a shirt with our face on it with pride. For all of those who won’t have that opportunity, do it for us! Wear that shirt with pride!”

[@LouStClair]

I'm a subscriber and watch many posts of yours. This one is particularly exquisite ! Absolutely fascinating.

[@diplamatikjuan3595]

Peter Martin is such a monster

[@fjzingo]

Beginning of 2000s are back with that shirt, cool!

[@girishvarma6129]

Surprised that no one has mentioned the word "intentionality" here with regard to rhythmic or harmonic elements to playing out. Seems to me that the hallmark of effective "outside" playing is the ability to be intentional about how we break up rhythmic motives, or when we dip in and out of the original harmonic backdrop, or both together. Whether you move into bebop language in a different key, or pentatonic language in a different key, or employ 7 over 4 for the bridge, your ear has to buy into where you are going (audiate, be intentional) in order to keep your listeners hands off their cell phones while they are listening to your solo. Love this channel so much, thank you guys for spurring thoughts and posing these ideas.

[@pickinstone]

YES, exactly what I'm talking about!

[@geocosmicvalentine]

Are we watching the same video? Because “intentionality” is all I’m seeing here in every aspect you mentioned and I’m only 30 minutes into it. I thought that was the point of recording this episode. They’ve just presented what kinds of modes to play that will make 7 chords sound more out, they talked about the altered scale before they even mentioned minor pentatonics and then major pentatonics; they pounded out rhythms over base lines to demonstrate rhythms (a subtle shade to “the notes don’t matter” and then demonstrated phrasing within those rhythms, demonstrated all that rhythmic stuff with using “4 chromatic notes only” and then “two notes only”, playing scales in a key a half step down from the actual key of the tune or a half step up from the key or the chord and I’m marveling at how much information I’ve retained knowing that I’m struggling with mild cognitive impairment (for real). So if I’m truly missing what you’re saying, let me know. I have not yet watched the last 30 minutes.

[@pickinstone]

@@geocosmicvalentine It's a great video. My point is that the study of rhythm can always be more explicit. As a teacher myself, I can confidently say that Adam is great at asking questions and breaking down what professional musicians take for granted. Adam is talented at making Peter's "mysterious artistic process" explicit for us laypeople. These realizations are usually about harmony and melody. There's a lot that still goes unsaid about rhythm. I rooted for Adam when he made that video "the notes don't matter," but I think there's still more to learn. Unfortunately, many of us are still stuck in a harmony-centric pedagogy of music. There's a paradigm shift that is currently happening in jazz ed--we are finally recognizing the power and priority of rhythm. We've talked harmony to death. We've talked chord scales to death. Rhythm is still untapped and can provide a pathway into musicality through the dance of the drum, especially for us non-drummers. I think that Adam can help change our pedagogical direction. I'll add Patrick Bartley, Quincy Davis, Bob DeBoo, and a handful of other educators on KZbin. Barry Harris tried to teach us a lot about rhythm--"rhythm rules the world"--but we are so enamored by his harmonic conceptions that rhythm goes by the wayside. Afterall, what is jazz without rhythm? What is music without the dance? What is the oldest pillar of our musical history?

[@geocosmicvalentine]

@@pickinstone I’m thinking of something I’ve heard Adam allude to here and in many videos here on KZbin (I wish I could reference which ones but there are so many now) in which he says, “The notes don’t matter.” (And he also expresses that it gets him into trouble here on youtube sometimes in the way that I think you’re describing), but he’s using Thelonious Monk as an example with Thelonious’ emphasis on rhythm and phrasing being so great that his clunkiness of touch and playing (what often sounds like) the wrong notes, but we dig it anyway. That’s his style of “outness” and I see Adam displaying that here in the video with the rhythmic exercises he’s showcasing within the 1st 30 minutes of the video. He doesn’t say the words but I see him doing it here. Unfortunately, I am about to [headdesk!] 🤣🥱😑😔😴😴💤💤💭🎹🎹🎹 But I’m glad to see I’m not the only person awake in the middle of the night practicing and/or studying how to play “out”. P.S.: There’s a basic rhythm book for drummers that Lyle Mays recommended (it’s somewhere in an article on his website - maybe be a deep dive into the media there) where he mentions that you have to just move through that book, like climbing a mountain alone in the snow, but once you do it, you’ll never worry again about what you’re playing rhythmically. Now I’m just babbling, I better go to sleep. Have a great evening.

[@soulo3x859]

53:58 buddy holly

[@kwekuhodgson1976]

GALA from Germany, guys 😊!!!

[@stringtheoryx]

Which of your courses cover more advanced topics like this?

[@kyleyoungmusic]

3:11 CRAZY INDEED!! Damn lol 🔥🔥🔥

[@faboolean7039]

This is weird, I was literally just practicing this and then you make a video on it

[@Csharpflat5]

They have sixth sense at Open Studio.

[@gensicki2831]

They're in your walls

[@giampierogirolamo7134]

I know that feeling

[@WinItReigns]

The Piano Matrix has You

[@geocosmicvalentine]

@faboolean7039 At least you were practicing this, I was just wearing the T-Shirt. Literally 😂 except, I was wearing the maroon long sleeve “You’ll Hear It” t-shirt.

[@WinItReigns]

Open Studio needs some Vinyl Decals on those windows

[@foodhead4677]

I remember husky sizes. Maybe they should bring it back, a little social shame was good for me😅

[@thomascordery7951]

The advantageous root concept; is that what the Maestro does?

[@artmob3027]

Cecil Taylor Mary Lou Williams.

[@WinItReigns]

The Piano Matrix has You

[@nilkilnilkil]

I can't do this stuff bro. I can solo over drones and really simple chord changes. But I don't know what I'm doing like, word for word.

[@granddaddy_funk]

You also didn't know you can edit comments? I'm just messing with you btw. You will get it you have to sound bad for a while before it comes together. Just listen to a lot of different jazz musicians, and get these sounds in your head.

[@Ryan-wr8fx]

You should have producer Caleb choose your outfits

[@nilkilnilkil]

I can't do this stuff bro. I don't remember chord names or the relationships between chords. I can solo over drones and really simple chord changes, but I don't know what I'm doing like, word for word.

[@magohipnosis]

Simplify everything and shift the pentatonic scales

[@mathtrixmusiclix4248]

When you can play like that, you can wear pizza boxes for all I care.

[@j0nall3n]

Almost thought Adam was gonna play this at one point: kzbin.info/www/bejne/i4jaXqBnrNxlidE&ab_channel=FindeSiecle5 Koji Kondo, playin' outside since 1987

[@c.l.4895]

You guys need to wear suit and tie every time. Channel your inner Joe Farnsworth.

[@bobbachelor5930]

Sorry guys, this is NOT playing "Out". Playing "Out" is Cecil Taylor, Hasaan ibn Ali, Matthew Shipp, and other similar players. McCoy Tyner is NOT "Out".

[@lidaco]

🚨🚨 jazz police alert 🚨🚨

[@ManchurianCounterweight]

ok Bob, thanks for your input.

[@RocknJazzer]

Yes it is playing out, as is McCoy when he goes there. Did you watch and listen to them at 7:40 thru 8:30 explain it...ie outside of the chord/scale/melodic/harmonic relationship. You are talking about free jazz, which can and is often out, but is usually beyond out to the point there is little to no "in" context to give meaning to what is out or in like most free jazz. If there is no in, there is no out. If everything is out (most free jazz) nothing is out. To be out there has to be the contrast of in to out. Without in there is no context to determine out.