Play Outside Using This simple Minor Chord Method

[@sorenballegaardmusic]

🎷WHICH PLAYER HAS THE BEST OUTSIDE PLAYING? ✅kzbin.info/www/bejne/hnnOkphueL-rg5Y ✅www.patreon.com/posts/39140131

[@pelonete5000]

Bunky Green, Greg Osby. The masters of playing "outside"

[@ChromaticHarp]

Nobody plays outside like Claude B. RazzlePod

[@pelonete5000]

@@ChromaticHarp Well , that guy should be known only in his house because I do not find him anywhere in KZbin. Do you have any link to check him out?

[@ChromaticHarp]

McCoy

[@Arborwaychet]

Thanks for your great work

[@persistence_of_vision]

This is so important. My mother always used to tell me to go play outside, but she never told me how.

[@sorenballegaardmusic]

Hi Man! True True - one of the aspects of playing music is add your creativity to everything. These amazing musicians found the way - how we can be creative is taking their music and add this to our own playing. When you look you will find something! TIP: You are welcome to check out the 1000+ pages on the Patreon channel: www.patreon.com/sorenballegaardsaxophonelessons

[@08waltew]

Hahaha nice

[@qddk9545]

But she did say: "Close the door when you are out" 🙂

[@SUPERSAMPLES1]

Watch out for dogman, thou!!!

[@a.nonnamuss21]

Put on a sweater and your winter coat! It's COLD outside!

[@_left_eye]

When you can make sophisticated things look so simple, well you deserve some gratitude!

[@sorenballegaardmusic]

Thank you so much. I am so happy you say this. i really do my best to make it clear and understandable. All education should be plain and simple - because there is no matter that cannot be explained like this!

[@_left_eye]

@@sorenballegaardmusic you shiny soul.. I know dozen of music teachers who carefully teach as slow as they can so they guarantee themselves some long term students

[@JeffJacobsonMusic]

Pure gold, Søren; I never knew this. It's like they're all related in a diminished kind of way - a minor 3rd apart: Dm7 - Fm7 - Abm7... So Bm7 must work too!

[@sorenballegaardmusic]

Thank You So Much Jeff! This is amazing. Yes this is a part of the diminished dominants and their minor chords. Bm7 - E7 is great too - goves this very new sound. Not many uses this sound!

[@JeffJacobsonMusic]

​@@sorenballegaardmusic Ah, that all makes sense. Awesome :)

[@Len_J_]

Best comment and reply on YT 💥

[@JeffJacobsonMusic]

@@Len_J_ Ah, thanks :)

[@sorenballegaardmusic]

Everybody should go play outside - I tell my kids constantly - they just sit and listen to dad making videos on how to play outside! LOL

[@Steve-n7t]

It’s good to have this available. It gets us away from always struggling trying to get a quick 2 5 one bar idea without sounding intentional trying to outline each chord.

[@sorenballegaardmusic]

Just use one of them indeed. I do it all the time - becomes second nature to thing it all as one thing after a while

[@leroybrim2955]

You have reawakened my creative juices, opened the doors to the universe of sounds of exploration. Music imitates life in a big way and Life imitates music in a small way. Awesome stuff!!

[@sorenballegaardmusic]

Thank you so muh - so positive - inspiring! You inspire me to do more!

[@jameslockhart2223]

These ways of simplifying tritone subs and backdoor dominants are so effective. I always feel I ought to outline the dominant chords. Great lesson, Soren!

[@sorenballegaardmusic]

I always try to think in longer sentences. Like minor this or subdominant that. This tends to simplify the distance from thought to ear to instrument. At some moment it just becomes sounds

[@Bubdiddly]

Wow. Youre a phenomenal teacher, ive never understood these concepts and i think it finally just clicked

[@sorenballegaardmusic]

Thank you for the appreciation. Really inspiring. I really hope you get everything out that you need. You are welcome to ask questions if you have any. all the best and have a great practice

[@obus4186]

Thanks for laying this out clearly and not cryptically or partially

[@sorenballegaardmusic]

Thank you. I think understanding is very important for the implementation. Have fun practicing

[@geneh.smalley-px4kr]

All these years of using the same sounds on the guitar..now to find the simple solution that opens up everything jazz...from a sax player.. Better late than never...thnx...

[@sorenballegaardmusic]

You are so inspiring. This is a really nice comment. It means so much to me when I make a difference. Thank you so much for commenting. I love guitar players and playing with guitar players. There is so much power in guitar. All the rock music....have a super nice practice

[@tradingwithwill7214]

bonus if you noticed each shift is a minor 3rd up...Dm, Fm, Abm and even Bm(Cbm) a whole lesson on why you can substitute in minor 3rds (hint think diminished chord)

[@sorenballegaardmusic]

True that, then we are into interchangeable diminished progressions. Nice one too. I'll do that in another video

[@CarlosNaranjoMUSICCHANNEL]

One of my favs is half step/chromatic progression in 2-5-1 which is (in C): D-7/D#-7/E-7. Pretty simple and sounds great!

[@ti08287]

love that one too.... because it's goin up up up

[@sorenballegaardmusic]

Great sound. Would you then see the D#m7 as an upper structure of G#m7 the tritone II (G#m7-C#7) going to Em7 the 3rd of Cmaj7? That is what I would do :) Love to hear. Maybe a video for Powerful Upper structure chord progressions

[@robertolopez5186]

G#m7 - C#7 = is the 2 - 5 for F#Maj7.... so the minor phrases and scale you are using over G#minor 7 as an example in this video belongs to F#Maj7... with that in mind, we can use F#Maj7 scale or relative minor = D#minor 7 ... some People prefer minor colors others like more Maj7 sounds... and the choices go on.. altered, whole tone, diminished, etc

[@sorenballegaardmusic]

@@robertolopez5186 you got it. Yes , sticking to the major scale modes in the beginning and evolve to the melodic and harmonic minor, then pentatonic and diminished scales

[@olanrewajuadagba1291]

This video is like a dictionary of knowledge. You were straight to the point too!

[@sorenballegaardmusic]

Thank you so much for your positive comment. You inspire me. And thank you for commenting on the build up of the video. Then I can bring the information better.

[@Ikaros4-10]

Clear, short, simple. Invaluable. Thank you, Soren !

[@sorenballegaardmusic]

Thank you so much, actually what I aim for. Great feedback too. Thanks

[@rickmorales2113]

I have always struggled with bop, now this channel comes along and makes things clear. It's going to make a positive difference. Thank you!!

[@davidjordan3744]

This is all baked into the repertoire.ladybird stable mates etc .

[@rickmorales2113]

@@davidjordan3744 Thanks!

[@sorenballegaardmusic]

Thank you, i love to help. Thank you so much for compliments. Follow subscribe and if you want to go all in go to Patreon and download all lesson transcripts and 1000+pages of licks and exercises. www.patreon.com/sorenballegaardsaxophonelessons

[@sorenballegaardmusic]

True that. It is all there. Great tunes

[@PepperWilliams_songcovers]

Out of all three players, John Coltrane stands out! The G.O.A.T.

[@imagine07018]

Thank you for that.

[@sorenballegaardmusic]

Both Brecker and Potter are of course post Coltrane. Both learned from the master.

[@victoza9232]

@@sorenballegaardmusic ...and surpassed him.

[@Oi-mj6dv]

Brecket was a beast himself man, dont disrespect the guys

[@sorenballegaardmusic]

Not a single player played the same. Not sure Brecker or Chris Potter would say they surpassed Coltrane. They all keep and kept developing through their lives and always aimed, aimes for the highest standard. If you say that it is a matter of taste then everyone have their own taste and that is alright. But if Breaker and Potter surpassed Coltrane. Think about all the stuff Coltrane played as the first ever. I will def not conclude in this except say that they are all three of the top saxophonists ever.

[@krolrys123]

OMG is that really that simple? You are the best Soren

[@sorenballegaardmusic]

Thank you so much! Yes it is this simple. getting it fully into your playing is what takes the effort and the hours of practice :) How are you practicing this?

[@latinkeys1]

Thanks!

[@sorenballegaardmusic]

Thank you so much for your support. Really means so much to me. This makes it possible for me to make these videos!

[@hack-ta-guitare]

Wow, excellent work here ! It’s the first video that I watch on your channel. Impressive editing skills, can’t imagine the hours / days to achieve that. It deserve success.

[@sorenballegaardmusic]

Thank you so much. I really appreciate it. Have a really nice practice.

[@TheDavidmachin]

very nice video thanks. For me many familiar concepts, but here put in a very nice way to give you something that you can immediately go away and use. Less information, more focus on doing. Fantastic work. Thank you

[@sorenballegaardmusic]

Thank you. Well if you do not do nothing will be done. I'll go practice right away. Have a great practice yourself ☺️

[@thomassawicki2065]

A mazing ! ! You just made me sound 50% hipper ! This works so good. I was using a pedal G bass note against the Fm7 substitution . Sounded sooo hip. It is much easier than to think of an altered G7 scale, it works like a Charm Thank you 100 times ! !

[@sorenballegaardmusic]

I am so glad to help, means a lot. Yes it is so much easier. And you are thinking the function. Not only a mode. It is an amazing tool. For you too keep

[@canaan_perry]

Cool sounds. Thanks for sharing.

[@sorenballegaardmusic]

Thank you so much for listening and checking it out. Thank you for the com6

[@tonyr.4778]

Wow. I'm impressed how complicated and confusing you made this simple thing to

[@sorenballegaardmusic]

hahahha - yeah you can look at stuff in many ways. I am approaching this in a rather theoretical way. You can also just say - play the minor a half step above the dominant. But some would ask - how does that connect to the wholed western tonal system? different approaches for everything! Have fun and have a great practice!

[@Len_J_]

You CRUSHED IT! great video, I tried it and 💥

[@sorenballegaardmusic]

Thank you so much. This method works really well. Have a great practice

[@BRSQ]

These are great ideas! These short little passages will work anywhere. But longer "outside" playing works best with a bass being the only chordal instrument so there aren't conflicting notes.

[@sorenballegaardmusic]

Totally true. But you can also just play over the chords of the guitar/piano. Hahhaha. Hopefully they brought the good ears. Joke Mostly when you know the musicians you play with they also know your sounds :) But true, long outside lines demands the space

[@jarkkoriihimäkimusic]

Great video, thank you! As a pianist I would have to say Kenny Kirkland as No1. His balance between in and out was just perfect in my opinion❤

[@sorenballegaardmusic]

Thank you for commenting. Yes indeed some of the Piano players have these amazing outside lines. I guess it has also something to do with the overview of the instrument. Love getting inspired by guitar and piano.

[@personalwatching9312]

Yep. My hero

[@AnthonyShaw-ty9pi]

👍🎩👍 Simply, the Barry Harris concept. The family of dominants!!😄

[@sorenballegaardmusic]

I enjoyed lots of Barry Harris workshops and learned so much from him. Amazing energy and amazing teacher. So grateful.

[@saschah4999]

tbh you could easily explain what these concepts are in full depth within 6 minutes, if people are looking to play outside jazz they probably already know what a tritone sub is

[@sorenballegaardmusic]

Yes easily, to people knowing what it is. Play the 2nd degree minor to the tritone substituted dominant and resolve to the Tonic of the original key. There you go. Like 15 secs of reading tops:) But not all understand I believe. When I make these videos I learn so much, because I take a lot stuff out of context and study it. So I explain a lot too :) Have a great practice

[@hoprocker]

The notation at 3:16 is the wrong lick, but the idea still comes across. It's much easier to think about the minor-ii from the "relative major" key (I think what @OpenStudioJazz calls "cush chords") than working out, on the spot, the notes from the lydian dominant of the tritone sub. (Not sure if I have this terminology right, but essentially doing a transposition of ie C->Eb, then using the ii from that key.) You can borrow other chord progressions from this relative key before resolving to the tonic, ie IV-iii-ii-I -> Ab-Gm-Fm-C, lots of fun to be had there.

[@sorenballegaardmusic]

Yes I noticed the notation. Wrong file in the edit....sorry man. But you get it. En to C sounds amazing - backdoor dominant Fm7 Bb7, Dø7, AbM7 upper structures of the same function. That's a nice playground, true. Amazing sounds. Just do thirds or triads up or down the scale and you are golden.

[@jzgtr100]

I loved this lesson. I’m a guitar player. I like playing outside on jazz blues. Say we’re playing F blues. On the IV chord(Bb7), I play F- pentatonic, slip into F#- pentatonic and back into F-. It sounds a little too formulated. Going to give your ideas some tries. The second idea was more dissonant. I like that! Thanks for the great lesson.

[@sorenballegaardmusic]

On the Bb7 back to F7 you could use the alteration Dbm pentatonic! Super cool that I can help. Have a great practice!

[@beneficjenci]

Thanks Man - love the simple down to the bones approach! Tasty bits!

[@sorenballegaardmusic]

Thank you. Bite sized chunks are always easier to work with. That's the way I practice and learn myself

[@Steve-n7t]

Well laid out sir!

[@sorenballegaardmusic]

thank you so much - it means so much!

[@DouglasCambridge]

Thank you this is amazing idea!

[@sorenballegaardmusic]

and it totally works - I often find myself åæaying the minor chords instead of the dominants...

[@juanxooo]

Great video!! Me as a guitar player was kind of weird reading in treble clef, but listening one tone below, since the sax tunning goes like this.

[@sorenballegaardmusic]

Thank you so much Juan. I can understand - on patreon I have all examples written out in all clefs for all instruments. + a bunch more exercises and licks in all 12 keys. I upload +60 pages of lesson material every week. This might help you :) www.patreon.com/sorenballegaardsaxophonelessons

[@trombonemunroe]

You can use any minor subdominant for that: the iiø, the iv6, the bVI7, and the bVII7 will all work. Likewise, the Neapolitan chord VII∆7.

[@sorenballegaardmusic]

All in the family of chords borrowed from the Minor IV indeed. One thing! You write IV6 - in C major this would be Fmaj6 or Dm7 - how do you see this belonging to the IVm scale? Just curious to if you see something I dont?

[@NelsonMontana1234]

Playing out is easy. Playing out and making it sound "in" is hard.

[@sorenballegaardmusic]

So true so true. Make it musical is the hardest lesson of all

[@Albaprost]

Try to find a safe start, then play outside, then go back to safe target note. Do not lose track. If you stay to long outside, you lose.

[@Don2Rich]

You're right. In my opinion, my favorite out players are the ones that can play in

[@anthonysilva5312]

A simple hack is: When playing a ii V I, play the same minor phrase up a minor 3rd (or even a tritone) then resolve to a chord tone on the I chord.

[@sorenballegaardmusic]

Yes in the same concept. Diatonic dominant, Backdoor dominant, tritone dominant and the last dominant going to the parallel minor or maj6 chord. Have a Great practice

[@Martian128]

Thanks for this - i hadn't heard of the "back door" substitution before (will check it out) The tritone sub, of course. And that's not a long complicated explanation. Simply that they share the same tritone (the 3rd and 7th of one are the 7th and 3rd of the other; and coincidentally their roots are also a tritone apart). You spent some time suggesting to take the V out of the ii V I and just use the ii. Interesting! I try to get my students to think in terms of "local" key signatures instead sequences of chords. Very helpful in a tune like All The Things You Are for example ... Thanks!

[@bill18286]

I always learned this as playing an Ab melodic minor on that G7alt.

[@abilialibi]

Yeah this way you have an F natural instead of F#, which seems more like a clash to my ears.

[@sorenballegaardmusic]

Totally true, a great way to think this.

[@LydianLunch]

Hi. This is the first of your lessons I’ve watched. Very good. Thank you. I’m a guitarist. Barry Greene had a similar lesson - the “back door ii V” as he called it. Mind blowing stuff that quadruples what you can play over a iiV. I subscribed and I’ll be watching. Cheers.

[@sorenballegaardmusic]

Thank you so much! Yes these guys are amazing - knowing these tricks are so usefull - then it is a matter of getting into the practice room and get cracking! have a great practice! All the best

[@ChromaticHarp]

Backdoor 2 5 is subdominant minor cadence…

[@Aerlioz]

Totally came here as a guitarrist into what hidden secrets the sax players have up their sleeve. This is mind blowing

[@sorenballegaardmusic]

true - minor key interchange!

[@sorenballegaardmusic]

Welcome - love you are here!

[@davidperezgonzalez1839]

Another guitarist here giving thanks 🙏🙏🙏

[@sorenballegaardmusic]

Love that man. Played with Jens Larsen for most of my life, learned so much from him, love how guitar is comping and soloing at the same time. Small nifty rhythms. Piano is often more all over the place. Love guitar

[@superdupes987]

Hi Soren, I've ventured out of my usual guitar channels and happy I did! This sounds great, looking forward to playing around with it. Thanks for the content

[@sorenballegaardmusic]

Thank you for getting out there. One big inspiration for me is guitar players. That is so different and so amazing what you guys can do with the fretboard and the different build of the instrument. Try the minor chords - they are fun :)

[@nicolasalvarado4965]

i would like a lot an explanation of the backdoor dominant!

[@sorenballegaardmusic]

Hi Nicolas, thank you for you comment :) Check this video for the backdoor dominant kzbin.info/www/bejne/nJSUaIetm8iKe5I Have a great practice!

[@akaelalias4478]

Please pin this comment 🙏

[@jackwilloughby239]

Another great video Mate! To answer the Question of the Day: Lenny Tristano, Line-Up/East Thirty Second St. His use of Substitute Pentatonics & Chromaticism are about the most Muscular & Lucid inside/out playing I've come across. Teach me to play piano. Please!

[@sorenballegaardmusic]

They are amazing - and there are so many great players - would love to be able to give it all attention, but time is too short :) Love your remarks. Thank you so much!

[@bobblues1158]

Excellent Søren! Keep it simple is a good mantra!

[@sorenballegaardmusic]

Simple all the way. Always work on your basics. And simple is just so much easier. All steps should be simple, if not the steps are too big.... Thank you so much for pitching in, love it. Have a great practice:)

[@michaeldean9338]

Soren...you're the man! Thank you, friend.

[@sorenballegaardmusic]

Thank you so much for the positive comment. Inspires me to keep going

[@marike1100]

The Fm7 and Abm7 to C work well because they contain many of the same notes as G7 altered (V7). Beautiful tension notes.

[@ChromaticHarp]

Not Abm7, Abm6 is a better choice, you don’t want the natural 7 of Ab (Gb) in the scale.

[@sorenballegaardmusic]

True that :) The Fm7 is a part of the backdoor dominant in C and the Abm7 could be the II to the Db7 the tritone substituted dominant

[@sorenballegaardmusic]

If you want the II-V sound Abm7 - Db7 to C I would argue that you could use the Abm7

[@jazzdorefree194]

@@ChromaticHarp The 7th is the 3rd of the preceding V chord. Parker played Gb G Bb D F etc etc for a C7. Gb/F# is the 3rd of D7. D7 Gm etc.

[@jazzdorefree194]

@@ChromaticHarp BERKLEE school of scales BS. D F# A C = D7 , the V of G, G maj , G minor , G7. Its BACH Mr "Graduate". Referred to as the "Backcycle"". Unlike most people I back up my claims with proof. Measure 62. Parker's overused favorite motif for C7 in many of his tunes/solos. Albeit if transposed to concert key from Alto, that's Gb to G ( D# to E ). 00:50 kzbin.info/www/bejne/hnLIXoBsh8iJgJY You want to play something really sharp for Gm. OK, let's go for the back-cycle substitute chord....let's see, back cycle for Gm, that makes it D7....so let me see, I can play the D+, D7, D7b9 for Gm, OK, you can start on one of the D chordal notes: D, F# or A. So anyone of those notes you can start on to play whatever variation of D and the corresponding notes for the various chords of D. i.e "the V of the ii chord which then is the V of the 7th chord ( ii V Gm C7) But then you know all this shit because you say you went to BERKLEE. I'd keep that a secret. That's like saying now I'm Chinese because I went to China. Has no value, just lip service.

[@Tetasha]

This is giving me huge Jens Larsen vibes. Great vid!

[@sorenballegaardmusic]

He is one of my best friend's and one of my favorite musicians. We talk weekly about the material and the how to's. Learned so much from him. Pls ask questions if you have any:)

[@juangtr._]

Great explanation! opened up more ways to play over a iiVI. thanks!

[@sorenballegaardmusic]

Thank you, yes the II-V-I keeps being the most played progression in jazz. And when practicing it just opens up more ways to go in all directions. Thank you for commenting!

[@thomasrudolfhansel]

Thanks for the great video, Søren! That's exactly what I'm looking for right now to make my too-harmonic solos as a bassist more interesting. Greetings from Germany to Denmark! :-)

[@sorenballegaardmusic]

Thank you so much Thomas. yeah - these harmonic ways counts for all instruments. What barry Harris once said at a workshop I attended - the more knowledge you are able to expres on your instrument the bette player you are! have a great practice, Maybe we play together one day!

[@mrjazzer9904]

Thanks so much for the simplicity of this very valuable tool!! 🙏🎶😁

[@sorenballegaardmusic]

You are very welcome. It does not have to be complicated. But it needs a certain attention to get around and learn. Can be very heavy material

[@TheDesertRat31]

Cool video. Im glad i found your channel. Regarding the tritone sub, I would say it doesn't need a long drawn out theoretical explanation. The guide tones of the origin dominant and the tritone sub are the exact same. Since the 3 and the 7 are the 2 most important tones in a chord, the other notes which differ between them are basically just color tones. Once you het used to hearing tritone subs, you soon realize they are everywhere in jazz.

[@sorenballegaardmusic]

Thank you so much BobC and totally true. i does not have to be complicated. But there are so many layers of how people understand stuff...I think I have explained it in 4-5 videos now - all different :) Music keeps being exiciting

[@johncale9912]

Thanks for my next 30 days of practice, never ‘‘twas quite sure how that worked, jc

[@sorenballegaardmusic]

Every video of mine I have the same thing. I release just about 4 videos a week....ever week 120 days of practice. Nice perspective lol

[@davidsummerville351]

Good info so I subscribed. Thanks

[@sorenballegaardmusic]

Thanks for the sub! Amazing 🤩

[@personalwatching9312]

Holy heck ive never felt so stared at.

[@sorenballegaardmusic]

The magic of music!

[@Don2Rich]

Søren, you left out one more. You can do that same substitution with a B-7 E7 to CM as well. I use the dominant scales when I substitute, but I'll try the minors next time. All beginners should be watching your channel. Thanks again.

[@sorenballegaardmusic]

I know - it was on purpose - there is a 4th dominant - the dominant to the parellel minor - E7 > Am - Am is Cmajor or Cm if going all in! Thank you so much for the support and the nice comments!

[@DihelsonMendonca]

I loved the edition of this video, snd incidental sounds and images, including the classic original "Twilight zone"... excellent 👌

[@sorenballegaardmusic]

Thank you so much for noticing. I love this video, but this is also a lot of work. But I will start making more videos in this editing direction! :)

[@DihelsonMendonca]

@@sorenballegaardmusic It's because you're like me: Perfectionist. I did videos before, for a news channel I had. And I was very very perfectionist. This gave me much trouble and dissatisfaction, because I worked so hard, and few people watched the videos, and no recognition. Then, I got burned out, and after hundreds of videos, I can't do a single one more. I got disgusted about editing videos, and I was and am partially blind. 👍

[@sorenballegaardmusic]

@@DihelsonMendonca maybe we can do something together? It's fun. Greets Søren

[@w.jordanrobson2962]

I love Tucker Antell's outside playing!

[@sorenballegaardmusic]

Do you have a link with some of his best outside playing - wI do not know him - love to hear it! Thank you so much!

[@dagfinnlyngstad]

Takk!

[@sorenballegaardmusic]

Thank you so much. Means so much. Don't want to push, but check out the Patreon for all PDF's More than 3000 pages of material. All the best and have a great practice. .

[@tommysaxman]

Great video with ideas I can use today. Tak!

[@sorenballegaardmusic]

Thank you so much, please ask questions if any. :)

[@tommysaxman]

@@sorenballegaardmusic I’m working on going outside the changes and back in order to create some tension and release in solos while also keeping the melodic and harmonic flow moving forward. Just scratching the surface so far. I’ll be checking out more of your videos. Thanks again.

[@sorenballegaardmusic]

@@tommysaxman that will get you there. And you are very welcome

[@michaeleaster1815]

very clear explanation (at least for someone who as intermediate theory knowledge) ... thank you!

[@sorenballegaardmusic]

Thank you so much. I really hope you can use the material in your playing

[@toddmcdaniels1567]

For me I see dominant chord and the II chord going up by a minor 3rd in the first case and two minor thirds in the second case. I could see this as a key change that reverts back to the original key for the one chord, since the dominant defines the diatonic key, since there is only one dominant per key in the major scale. However, since the dominant is being skipped, it is the II chord going up either one or two minor thirds. This happens straight forwardly in a half diminished scale, encompassing both substitutions, which are now no longer substitutions at, but just a couple minor chords from the half diminished scale. So, one could envision this as half diminished leading to the diatonic I chord.

[@sorenballegaardmusic]

But is this not a very difficult detour to think instead of just thinking backdoor dominant, learn this term and get used to it. Train it like training any other dominant. The backdoor dominant and the 2nd degree in front of it is a part of the functions in the key. Not going off key into weird harmonic non existing key changes and functions. I think you make it very much more difficult than what it actually is. I do not want to sound condescending, sorry for the direct approach.

[@toddmcdaniels1567]

I’m all about scales. I create motion in a solo through key changes or scale changes. I don’t think in chords. Even arpeggios are just itty bitty scales to me. But I found this video very enlightening. Minor 3rd key changes are something I work on a lot, so this all funnels into that for me.

[@eliasricano7170]

Useful, straight to the point information. Thanks man

[@sorenballegaardmusic]

Thank you, the best way, get going. it's like practicing, if you don't do it you do not get better. Have a great one

[@pekkanattinen907]

Kiitos!

[@sorenballegaardmusic]

Thank you So much Pekka! I really appreciate your tribute. I do not want to push, but on Patreon you get all my lesson transcriptions for €5,- per month. that is 1000+ pages of learning material. This weeks video on blues is here: www.patreon.com/posts/70375715 All the best and thank you again!

[@williamwalsh6282]

I heard this before… great explanation

[@sorenballegaardmusic]

It is a common thing to do, and it works amazingly. Love that sound!

[@bennewman5154]

I always just thought of this as minor triads build one half step above either the third or the fifth of the major scale you are going towards (f minor to e and Ab minor to G in the case of C major). Using the upper extensions of the minor chords doesn't work as well in my experience so keep it simple with the triad notes (maybe some passing notes like the 2 or 4) but really nail that strong semitone resolution to the three or five. Nice explanation of the theory as to why this works!

[@sorenballegaardmusic]

Thank you so much for the positive comment. I strongly believe that the more ways you see these connections the better you will be able to navigate them. What you say is so true, simplicity is great and we find simplicity in all forms as we advance in knowledge. Have a great practice.

[@image30p]

Very nice! I love the tone on that horn. Awesome!

[@sorenballegaardmusic]

Thank you so much. Getting inspiration from the best

[@davekana8388]

Great video!

[@sorenballegaardmusic]

Glad you enjoyed it thanks for saying it out loud:)

[@jhazeyhazey]

Thank you so helpful!!

[@sorenballegaardmusic]

thank you for getting in here and commenting!

[@percyvolnar8010]

Most profound players who blow my mind are : Steve Coleman & Greg Osby - Steve Coleman is the Alan Holdsworth of Sax players. This is the first video of yours i saw and I subbed right away!

[@sorenballegaardmusic]

Thank you so much for your input. I am going to check Steven and greg out. Do you have any favorite albums to check? Thank you for the sub! have a great Practice

[@percyvolnar8010]

@@sorenballegaardmusic With Greg Osby the album 'Banned in New York" is a great starting point. With Steve Coleman, there is too much to listen to. A good starting place with Coleman is here watch?v=Yy5YwyLysV4

[@tomgross1953]

Really good stuff, and really well explained

[@sorenballegaardmusic]

Thank you so much. Really appreciate you take the time to comment

[@fernandof.2743]

Fantastic lesson !! Thanks !

[@sorenballegaardmusic]

thank you so much!

[@bintang_sakti]

oh wow , that's easy to understand

[@sorenballegaardmusic]

thank you so much - that the purpose of teaching. Thank you so much for commenting!

[@tomashguitar638]

Very informative. I’ve always thought that Ab min works over G7(5+) by G5+ superlocrian being the 7th mode of Ab melodic minor. Or to put it another way, seeing G5+ as a Ab min maj7 over G bass. I never thought of approaching II-V-I in this fashion. You blew open a big door for me. Thanks a lot!

[@sorenballegaardmusic]

You can use the Abm maj on Galtered too, but then you get an altered dominant. This is a slightly other sound and is I think also a great way to play other harmonics. Thinking a more inside therotical chord function approach and not so much thinking a mode which to play. I am really glad that this opened up ways to see more music. Thank you so much for sharing. Means a lot. Love when these things happen.

[@davidbaise5137]

The Tin Pan Alley tunesmiths of the early 20th used this all the time (eg “Whispering” ), Ragtime also. Sounds so cool.

[@sorenballegaardmusic]

This sound is really amazing. And when you know it it's there and really useable

[@mrcatfishjohnson]

Excellent video! Lots to work on from this one. (On any instrument)

[@sorenballegaardmusic]

Hi Ed, thank you. Yes getting to this point in some different keys demands a certain amount of hours practice, but you can do it. Let me know - what is your biggest struggle when it comes to practice? Practicing this? All the bes - Søren

[@darz3829]

Terrific. Now everyone can sound just like everyone else. And isn't that what jazz is all about? (sarc)

[@sorenballegaardmusic]

Hahahaha amazing. Well then there is the way we use it and how you use it and how you brain works and how your inspiration is and who you listened to. Hahahaha Just give me 1/10 of the vocabulary og these three masters. Love it and love the sarc.

[@darz3829]

@@sorenballegaardmusic There are quite few young modern players out there. Listen to them and see if you can tell any difference. It's kind of like discussing the difference between McDonalds and Wendys by counting the sesame seeds on the buns. At the end of the day, they're still hamburgers.

[@sorenballegaardmusic]

@@darz3829 there are a lot of them. But true, old players made more difference, but only the ones we hear because they recorded and only a few had the opportunity. Now everybody can listen to everything because of internet. It is a mad World

[@haikel527]

Great Tuto. thx

[@sorenballegaardmusic]

Thank you so much! I like to think these chords this way :)

[@pallhe]

Really well explained. Cool sounds!

[@sorenballegaardmusic]

Thank you, yes get them going in your playing and play those amazing sounds. I love this sound

[@bensen3325]

Dear Soren,you must have 100.000 subscribers.I dont understand this you tube at all...regards and love from Istanbul.🎷✌🎷❤🎷

[@sorenballegaardmusic]

Yes I wish there were 100K subscribers. Glad you are one of them. Maybe one day :) Hopefully I can keep up the level and the videos. What is it you do not understand about this video? What material would you like to hear more about?

[@bensen3325]

@@sorenballegaardmusic Wrong translation because i use google translate, i mean i dont understand You tube ranging system.You have to be 100K.Also,all your videos are very understandable.Thank you sir.❤

[@sorenballegaardmusic]

@@bensen3325 aha thank you Ben Sen. I am really happy that you get inspired by the videos. And still you are always welcome to ask questions about stuff 🙂. Thank you so much for the friendly comment.

[@wrtoomes600]

Backdoor dominate exploration would be good. Thank you.

[@sorenballegaardmusic]

Working on making that video :)

[@eddawson3154]

Thank you mate

[@sorenballegaardmusic]

You are welcome, Thank you so much for commenting

[@gustavoramirez-onna65]

Thank man for shearing amazing ❤❤❤❤ 🎹💯🎵🙏good Healt continues working hard

[@sorenballegaardmusic]

Thanks a billion. Means a lot to me! I will keep sharing - keep tuned in! All the best!

[@jlcrut3]

Great material. I think you'd convey the message even better with less closeup stuff. Distracting. Thanks for the content.

[@sorenballegaardmusic]

Thank you so much - ill work with the editing ! lovely comment!

[@zahiircruz9178]

Excellent explanation.

[@sorenballegaardmusic]

This easy method can really help you playing this sound much faster. I love that funny minor chord short cut

[@karlschmied6218]

Very good content! But what is the purpose of the jump cuts? Are you on speed? Or do you think your audience is? Or does it just sell better? It stresses me out.

[@sorenballegaardmusic]

Thank you so much, it's the speed definitely....no no joke. I'm a musician, not a video editor, that's the basic reason. I play music for a living. When making videos I do what I pick up here and there and see what works and not work. This video get an insane amount of views and has great view time, so something works. Don't ask me what? Sorry about the stress.

[@karlschmied6218]

@@sorenballegaardmusic thank you. I think it's a generational thing. Young viewers may need that nervousness to be entertained and to keep their attention. It's like having someone constantly tapping you on the shoulder.

[@sorenballegaardmusic]

The views are great, but true. I am still searching for the perfect mix between stress and nice viewability. Thank you so much for commenting. Makes me aware

[@LawrenceBraniff]

Thank you for this, It's so interesting. Except I am not sure how Fm7 is the minor second of Bb7. Could you explain that a little more? Thanks again. Exciting stuff!

[@sorenballegaardmusic]

Love these concepts. I look at the Bb7 as the V, making the Fm7 the IIm7 in Ebmaj. But since its the backdoor dominant they resolve yo Cmaj. Hope this makes it more clear. Sorry for the fussy explanation. Let me know if this helps. Have a great practice.

[@robertbrown2728]

​@sorenballegaardmusic ImStill puzzled by this I'm afraid.

[@LawrenceBraniff]

thank you! that explains it perfectly.

[@Joe-zp8jq]

I will try now! I guess it is easier to remember if I have V, I just play #Vm7 or IVm7?

[@sorenballegaardmusic]

Not sure I completely get what you say. Like if you have a G7, then you can play Fm7 (Bb7) or Abm7 (Db7) to C. Yes you can if you like those substitute sounds. Let me know if I understood

[@uryic000]

Excellent video. Your video came up in my suggested videos list. I will be watching more and will subscribe. Oh yes I would like to know the full explanation of the back door dominant. cheers

[@sorenballegaardmusic]

Thank you so much. I will get on making a video on Backdoor dominants! Interesting way to play dominants using the subdominant!

[@nenadd]

Nice work thank you. What is the explanation behind back door dominant please?

[@yxcv789]

Very cool! THX!

[@sorenballegaardmusic]

You are very welcome 😁 Thank you for taking time to comment

[@sheddybhulji8196]

Great video thanks

[@sorenballegaardmusic]

Thank you so much.

[@juanxooo]

Is there any application on minor tonality? Great video! 😊

[@sorenballegaardmusic]

In minor you can still use the tritone sub dom, but the backdoor dominant is not so effective since this is already derived from minor so the difference in sound is not so big. Try check out the diminished scales on dominants kzbin.info/www/bejne/maO0m4eGjZeroLs Maybe this works for you?

[@inflatedear7131]

Very informative.👍🎷🎶

[@sorenballegaardmusic]

Thank you so much and thank you for commenting. Really appreciate it!

[@prem-raj5651]

Can you explain about the backdoor dominant

[@sorenballegaardmusic]

kzbin.info/www/bejne/nJSUaIetm8iKe5Isi=g2FrRhfkLCxLVm2F did this in this video :) Let me know if you have questions :)

[@isoEH]

Since we're dabbling on the diminished's minor third intervals, also consider the Bm7.. really close to the Bm7flat5.

[@sorenballegaardmusic]

Yes - there are so much great content and still just 12 notes. I love the amzingness of this !

[@togotraining6621]

Wow, this is cool

[@sorenballegaardmusic]

This is a really cool way of thinking these chords! Thank you for taking the time to comment!

[@HenriqueMessias]

Very good!!

[@sorenballegaardmusic]

Thanks a lot!

[@marksowlakis9219]

Um, this was taught in its very same form at a Jamey Aebersold clinic I attended in 1980. And that was hardly the beginning of this train of thought. I once asked Joe Hen about this. He said just choose some notes outside the typical mixolydian scale and try to incorporate them any way you like, and don't worry about resolving them. His thinking was learn to embrace all the chromatic notes against the dominant.

[@sorenballegaardmusic]

Yeah - music is not new...all these things are some old school stuff but still highly relevant to inform about I think. And Joe Henderson - he is one of my all time favorites - his concepts of playing, rhythmical and tonal - out of this world! Thank you for mentioning him! Amazing inspiration right there!

[@HarmoChopin]

03:16 I've just noticed the transposition written isn't right: I think you're actually playing F G Ab Bb C Ab G F E. Is it rigtht?

[@sorenballegaardmusic]

Hi Are you playing tenor saxophone? I was wondering if you are listening and playing on Piano or guitar? I am playing transposed for tenor saxohone - Bb transposition Let me know if this clears things up?` You can check the Patreon for a transposition to all instruments sorenballegaard.dk/play-outside-using-this-simple-minor-chord-method/ You can find PDf on Patreon!