Non chord-tone resting points for improvisation. Quick tip 118 with Stash Wyslouch

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Chord tones often guide our melodies and improvisations, but we can learn to hear and play other notes as points of gravity. This video is a starting point to get some of these sounds and ideas into your ear and head. These are not strict rules and they A) Don't always work and B) aren't the only options. It's up to you to find what you like and search out musical masters' examples of some of the uses of these.

[@thisjaymaloney]

Thanks Stash. Very helpful info .

[@timscarrow9151]

Thanks for showing where the sweet color notes are good stuff!

[@connorwillett4160]

Thank you, Stash. Sometimes your QT is exactly what I’m looking for. Hope you’re well

[@DavidFlorez]

Thank you Stash, this is very informative and of practical application!

[@Oleg_K.]

How are you to getting these note recommendations? I'd really love to know more about the theory behind choosing these particular extensions for these particular scale degrees.

[@StashWyslouch]

short answer: This is what was fed to me a long time ago when I went to music school and helped give me guidelines with which to experiment.
longer answer: exploring a lot of different music, particularly jazz where a lot of these non-chord tone resting points are the norm. (11 on a minor chord happens ALL the time, 9 on a major chord ALL the time, 13 on a 4 major chord, all the time! #11 on a major chord. . . not so much but maybe starting in 1960's jazz a lot more).
You can experiment with what works and what doesnt using the method I showed in this video (make a quick chord progression and LAND on a particular note you want to experiment with). You may find some of my suggestions don't gel with your ear at first, which is great! Don't use them if they don't gel with you.
Deeper than that, there are music theory ideas on why some of these work and why some don't. It can get imo unnecessarily intellectual. At the end of the day I'm most interested in finding notes I like and can use and let the experience guide me.
Some people use the overtone series to prove this kind of thing (the 9 and #11 appear as the 9th and 11th partial of a fundamental tone so it 'must be consonant')

[@Oleg_K.]

@StashWyslouch Oh, thank you for elaborating so clearly. Great info and advice all-round. I'll keep it in mind when I write and practice.

[@StashWyslouch]

@@Oleg_K. all the best on your musical journey!

[@Oleg_K.]

@@StashWyslouch Thank you! And, I mean, you are coming with me - at least through the tips you share on your channel. So godspeed to us both.