For sheet music of all 64 Phrases in all 12 keys: www.jazzlessonvideos.com/pdf-packages Mouthpiece: use $10 coupon code CHADXSYOS at www.syos.co/en/shop/products/signature-saxophone-mouthpiece/chad-lefkowitz-brown-tenor
Steve Grossman taught me about playing out. It was a life changing experience. This is a nicely laid out video. It's nice that younger players have this technology to take advantage of, and you use it very well. I enjoyed your video. Thanks for sharing😊
Same. Figured it'd be about dealing with how weather affects your tuning, how to move your fingers fast when they're cold and stiff, what reeds do in humid vs. arid air, acoustical challenges of playing outdoor venues, etc. Haha. Well, Chad, sounds like you've got your next video topic already lined up. :)
I understand the metaphor ‘outside’ for non-diatonic but wouldn’t it be hilarious it Chad went to Sonny’s famous bridge on a stormy day and after discussing the great man’s practise regime began discussing ‘how to project’ for the benefit of the passing trucks. 😀
Chad, you are an awesome player AND teacher. Very clear explanations about a complex subject. When my dad was a kid (before he toured with Jimmy Dorsey and Charlie Spivak) his father always told him to take his trombone outside, and he literally meant out to the cow pasture where no one else could hear it!
This is honestly what separates good musicians from bad. Good musicians are able to incoporate different tonal centers to the tune and still play with style and good to the ear. Way to go.
You analysis is roof tops. You have made my trumpet studies much easier theoretically and practically. And so is your influence to your colleagues. Keep the good work up
I love your videos Chad as well as your playing. I don't follow music theory very well but I can see how other more knowledgeable players will get this.
You explained it well, Chad. I tend to play old school improve from the 40's or earlier and stay inside I think a little too much. I will try being more outside in my solos. 🎷
Even after 50 years I've always been a little afraid of when and where to go outside much less how to get back. I really really like the way you analyzed this. Now I can sketch out my ideas and feel more comfortable. Dude your playing is amazing ........ like a gymnast on the horn. Thanks for sharing your talent!
congratulations on bringing such a complex subject in a very didactic way. I don't know if it's in your plans, but an ebook on pentatonics would be interesting.
This is the perfect combo of telling exactly how to do it while leaving just enough up to me. Other teachers leave too much to figure out yourself or literally give you licks to play. Nice video
Really great video. I had real problems trying to make the outside fit without making it obvious, but the way you explained it helps immensely. Thanks!
Wow! Never ever heard outside playing explained like this before. I got it, and thank you, Chad. Really clears it up for me. I've never liked outside jazz playing because it always sounded like guys just pressing keys randomly. I know about all the theory you spoke: tritone subs, backdoor II V's, etc. But what and how you explained this makes good musical sense. I'm impressed with your work and talent. Keep going!
I really try to emulate your tone, I think it is really really nice. borrowed a tenor sax after your videos and now i really only want to play the tenor!
Chad, I started with Yakety Sax in 1957 or so. Did lots of R&B and R&R but always did things like Stardust too. I can play the melody as well as anyone. I can improvise but only average on all of those Jazz changes. The way you explain playing outside like this 1/2 tone above or below the 5th or the 1/2 tone above the Root of the key is as simple as it gets'. This just opened the world of jazz for me and it's too late. I'm 82 and live with AFIB. This stuff should have been common knowledge 1000 years ago. It pisses me off. I thank you, Sir. Was that supposed to be a big damn secret? How sad that is to me, Sir. I did some 5 and 6-night gigs for months at a time and was always trying to figure out what in the hell was that Jazz guy playing. I love your style technique and personality. I wish you were around and the internet too in the 40s and 50s. I'm about to cry over this. I will watch and pay close attention even though it won't benefit me. I get out of breath.
Great video. I think your structure and analysis of inside/ outside /inside really helps. It makes clear what many have made unclear. I like the focus on voice leading. I also like the thought of focusing on dominant phrases. Pity my neighbours in the coming weeks:)
Larry Carlton talks about controlling your “outside-ness” by using the circle of 5ths (or 4ths) to pick the keys to choose your notes from. The further you go around the circle, the more outside you will sound.
Study Pat Martino’s Parental Forms. He saw it all as minor substitutions, but I look at it as dominants-each dim7 chord can be used to derive 4 dominant chords by lowering one of the pitches, and that means those key centers are related. One of those “children” is the tritone sub. Another is the backdoor dominant. And you’re showing two more here which I would consider “side slips” for G7-F#7 and Ab7.
Super clear as ever: great teacher and great musician...unfortunately most of the people don't understand the concept of playing outside/inside because of the quarantine, so you have to complete the title naming this video "How to play outside tonality" to stop the kidding "qui pro quo" about it ah ah ah...thanks for your great lessons: I'm in a little town in Italy, but watching your videos I can virtually live the creative New York atmosphere. So thanks a lot for your kindness.
@@AmruthNiranjan99 sure, I know...I was only kidding: inside-outside concept is getting confused many people in quarantine time...not only musicians :):)
Hey Chad - this is great. Do you have a video discussing the use of sequences to create similar effects of tension & release, as distinct from using particular substitute scales?
Well. I can’t & don’t really want to. And I am willing to learn & grow . Thanks for the nudge. No playing in a Gospel concert and pushing out to C from Db to give it some sandpaper in “Operator”. Good timing - thanks❤️🎷
I do the half-step away, and also the tritone sub. But probably what works best for me: in the middle of the line, I’ll pick a target note, and then play any random triad arpeggio that has a note a half step away from that target note, and then resolve to the target note. It sounds so jazzy. For example, in Eb: starting out in F dorian -> A-C-E -> resolving to Eb. The ACE in the middle is the outside triad. Of course you can expand and elaborate on this. Another cool technique is to play a little motif, then repeat it a minor third away (usually higher). With both these techniques, the ear hears you go outside, but it also recognizes and accepts the structure. In the first case, the triad, even if it’s non-diatonic, is still a triad, and the ear gets this. In the second case, repetition alone gives the ear its understanding. So, in both cases you go outside and come back in, but the ear still is able to follow and it sounds cool and jazzy.
New fan here ...just discovered you in the past couple days... actually first time seeing you was in a vid you did with Jay Metcalf (Better Sax). I get a big kick out of all your theory lessons and the performances (last I listened to was "Caravan"). It must hurt to be so damned impressive! :) Telling my friends about you! Thx!
@@ChadLefkowitzBrown .... I'm a senior guy, in the last 5 years ran into my high school band director and fill in with his old timers band (which hasn't been meeting with the CV19 thing). Short version, I sent him some of your Tube links. I know he'll enjoy them. Thx!
So good as always Chad! I've got 4 of your pdf's and have been using them every practice session. I'll definitely purchase this one at some stage soon. Thank you very much for all you do!
Chad, this is the single most amazing tutorial on this subject I have ever seen around!! I have always felt that playing outside is a simple thing, at least from a theoretical point of view, you know, tritone subs and all, but what was always missing is someone taking it step by step and showing how the sound is actually created! Thank you so much for this bro.
Excellent as always. I wonder if you would add a fifth thing, that it also sometimes sounds really good to wrap up the phrase shortly after the harmony resolves in the 3rd bar. Sounds similar to using altered dom scale. Thanks
Inside Jazz Guitar yep that’s what the third phrase in the video does and that would be covered under category 1 - “where and for how long do you play outside?”
Inside Jazz Guitar and altered dominant is often an inside chord if it’s used with an altered chord :) Remember, the trick is to just go outside of the written chord, and altered dominant on regular dominant only creates a moderate amount of tension (which is totally cool too) but there are options for more tension!
Hi Chad. I've watched a few of your videos,very good,thanks. My question (chromatic harmonica or guitar here) is why is the major seventh used so often on dominant chords in jazz,even when it is the actual dominant of the key signature?(i.e. an F# over G7 in C major) Is it that the 3rd of the related flat five sub the spelling rationalization? Also what is the half step under dominant rule explained as explained by theorists?
Honestly the only tone over a dominant chord that could be truly considered outside is the major 7th and even that can be used as an escape circling tone or an escape approach tone. Also the other functional radical is the minor 3rd but not if you use it like a +9. But honestly the best way to play outside is to study what and how Kieth Jarrett, Dewey Redmond played on Gotta get Some Sleep or Mushi Mushi or etc. Because the truly best way to play out is to play in the Ornette Coleman tradition. You'd be surprised how many great learned cats can't do that. Because if you just play bop on Happy House or Invisible you WILL be and sound square.
Hi Chad Thanks for the video. In the video you mentioned maj7 vamps. I know lots of tunes with m7 or dom7 vamps but I don’t recall one with a maj7 vamp. Do you know some? Thanks!
Ok, awesome info as always but you left out the answer to one question: So, should I put a fork into an outlet every day or just from time to time to become a better player? And don't tell me it's not a thing! I already had that discussion with Bob Ross when I tried to become a painter!
Still can't understand how this guy plays with an embouchure that seems like it isn't even holding the mouthpiece. He just places his lips on the mouthpiece and that's it. To tension, no form, just placement. I can't get over it.
Not sure if he does double cushion oboe style Emb. like Branford Marsalis,I use that a bunch and have been for years .occasionally I put my top teeth on. I find it very comfortable and get the sound I want without top teeth on, also easier for me for the altissimo.
For sheet music of all 64 Phrases in all 12 keys: www.jazzlessonvideos.com/pdf-packages
Mouthpiece: use $10 coupon code CHADXSYOS at www.syos.co/en/shop/products/signature-saxophone-mouthpiece/chad-lefkowitz-brown-tenor
❤
Chads lookin more and more like a disney villain every video lol
LOL! #quarantinehair
Totally a young Jafar
EV the Techie EXACTLY WHAT I WAS THINKING!!!!
Destroyer of jazz myths :) Never had that stuff explained so lucid. Thank you Chad!
So glad you enjoyed it! Thanks for watching!
Agreed!
*lucidly
Man that opening was too killin!
Nathaniel Xavier Williford thanks man!!
fr he sounded like josh redman
Step 1: Sun-screen.
dalisllama 😂
As one who doesn't read Music and is mainly a Guitarist, I'd say that the concepts and explanation was a big help. Thank You!
Steve Grossman taught me about playing out. It was a life changing experience. This is a nicely laid out video. It's nice that younger players have this technology to take advantage of, and you use it very well. I enjoyed your video. Thanks for sharing😊
This is what made Michael Brecker great. He was the epitome of tension and release... Music is tension and release.
Would love to hear more about pentatonic shifting/sidestepping.
Hello Chad ! thanks a lot for everything you do for us ! I really enjoy your concept for improvisation ! Thank you ! Thank you!
I thought you literally meant outside... like an outside gig
DeMari Thompson haha! Not sure if I have any tips for that!
Literally why I clicked, i thought there was more to important outdoor playing technique
Same. Figured it'd be about dealing with how weather affects your tuning, how to move your fingers fast when they're cold and stiff, what reeds do in humid vs. arid air, acoustical challenges of playing outdoor venues, etc. Haha. Well, Chad, sounds like you've got your next video topic already lined up. :)
Haha, lol
I understand the metaphor ‘outside’ for non-diatonic but wouldn’t it be hilarious it Chad went to Sonny’s famous bridge on a stormy day and after discussing the great man’s practise regime began discussing ‘how to project’ for the benefit of the passing trucks. 😀
Guidelines:
1. Placement
2. Harmony
3. Voice leading
4. Clarity
Chad, you are an awesome player AND teacher. Very clear explanations about a complex subject. When my dad was a kid (before he toured with Jimmy Dorsey and Charlie Spivak) his father always told him to take his trombone outside, and he literally meant out to the cow pasture where no one else could hear it!
I just love listening to your playing at the beginning. What a great sound.
Incredible lesson. I have to watch this like every two months... as a piano player, I find your lessons to be the best I can find.
I think Barry Harris has the most beautiful ways of looking at playing "out."
Thanks for the video. Enjoyed it.
This is honestly what separates good musicians from bad. Good musicians are able to incoporate different tonal centers to the tune and still play with style and good to the ear. Way to go.
You analysis is roof tops. You have made my trumpet studies much easier theoretically and practically. And so is your influence to your colleagues. Keep the good work up
I love your videos Chad as well as your playing. I don't follow music theory very well but I can see how other more knowledgeable players will get this.
You explained it well, Chad. I tend to play old school improve from the 40's or earlier and stay inside I think a little too much. I will try being more outside in my solos. 🎷
Even after 50 years I've always been a little afraid of when and where to go outside much less how to get back. I really really like the way you analyzed this. Now I can sketch out my ideas and feel more comfortable. Dude your playing is amazing ........ like a gymnast on the horn. Thanks for sharing your talent!
saxxml thanks so much! That means a lot!!
Man those were some really cool lines...burnin introduction for the lesson...wow!
I’ve learned so much from these videos thank you. My language really started to develop when I practiced your stuff.
Kenny R so glad you’re enjoying the content, Kenny!
congratulations on bringing such a complex subject in a very didactic way. I don't know if it's in your plans, but an ebook on pentatonics would be interesting.
Man, chad! I am a trumpet player but I look up to you as one of the most influential modern day saxes out there right now. Big thanks!
Cole Howell thank you, Cole!!
This is the perfect combo of telling exactly how to do it while leaving just enough up to me. Other teachers leave too much to figure out yourself or literally give you licks to play. Nice video
Really great video. I had real problems trying to make the outside fit without making it obvious, but the way you explained it helps immensely. Thanks!
Thank you Chad. Very timely. I’m on it! JPT. Hilo Hawaii
great content!!!
LOVE from JAPAN🎉🎉🎉
Such a beast! Thanks Chad!
Thanks Chad.... I really need to work on this. This is what my soloing is missing....
¡Kojonudo, tío! Saludos desde Madrid.
i bought the various pdfs of chad and i am a Guitarist an amazing material !!!!!! Thanks Chad !!!!!
Things become easy to understand if the explanation is good - this is explained even great, thank you!
Wow! Never ever heard outside playing explained like this before. I got it, and thank you, Chad. Really clears it up for me. I've never liked outside jazz playing because it always sounded like guys just pressing keys randomly. I know about all the theory you spoke: tritone subs, backdoor II V's, etc. But what and how you explained this makes good musical sense. I'm impressed with your work and talent. Keep going!
Lindlee Frasier thanks for watching!!
I really try to emulate your tone, I think it is really really nice. borrowed a tenor sax after your videos and now i really only want to play the tenor!
Chad, I started with Yakety Sax in 1957 or so. Did lots of R&B and R&R but always did things like Stardust too. I can play the melody as well as anyone. I can improvise but only average on all of those Jazz changes. The way you explain playing outside like this 1/2 tone above or below the 5th or the 1/2 tone above the Root of the key is as simple as it gets'. This just opened the world of jazz for me and it's too late. I'm 82 and live with AFIB. This stuff should have been common knowledge 1000 years ago. It pisses me off. I thank you, Sir. Was that supposed to be a big damn secret? How sad that is to me, Sir. I did some 5 and 6-night gigs for months at a time and was always trying to figure out what in the hell was that Jazz guy playing. I love your style technique and personality. I wish you were around and the internet too in the 40s and 50s. I'm about to cry over this. I will watch and pay close attention even though it won't benefit me. I get out of breath.
Great video. I think your structure and analysis of inside/ outside /inside really helps. It makes clear what many have made unclear. I like the focus on voice leading. I also like the thought of focusing on dominant phrases. Pity my neighbours in the coming weeks:)
An awesome performer and a good teacher as well !!
Larry Carlton talks about controlling your “outside-ness” by using the circle of 5ths (or 4ths) to pick the keys to choose your notes from. The further you go around the circle, the more outside you will sound.
Great video as always! Very well explained. Thank you 🔥
James Howard thanks for watching, James!!
Study Pat Martino’s Parental Forms. He saw it all as minor substitutions, but I look at it as dominants-each dim7 chord can be used to derive 4 dominant chords by lowering one of the pitches, and that means those key centers are related. One of those “children” is the tritone sub. Another is the backdoor dominant. And you’re showing two more here which I would consider “side slips” for G7-F#7 and Ab7.
Super clear as ever: great teacher and great musician...unfortunately most of the people don't understand the concept of playing outside/inside because of the quarantine, so you have to complete the title naming this video "How to play outside tonality" to stop the kidding "qui pro quo" about it ah ah ah...thanks for your great lessons: I'm in a little town in Italy, but watching your videos I can virtually live the creative New York atmosphere. So thanks a lot for your kindness.
Fabrizio Vincitorio I think everyone understands, they’re just making jokes in the comments :)
@@AmruthNiranjan99 sure, I know...I was only kidding: inside-outside concept is getting confused many people in quarantine time...not only musicians :):)
thnk u sir...its very very helpful lesson for me....
Hey Chad - this is great. Do you have a video discussing the use of sequences to create similar effects of tension & release, as distinct from using particular substitute scales?
Soooo great video! Thank you Chad, I got to shed this topic in the next days.
Thanks...any ideias
Awesome vid and awesome package as always. I'd love to see some more advanced pentatonic ideas - shifting etc. in a future vid.
Nick Webb thanks man!! Will do!!
Well. I can’t & don’t really want to. And I am willing to learn & grow . Thanks for the nudge. No playing in a Gospel concert and pushing out to C from Db to give it some sandpaper in “Operator”. Good timing - thanks❤️🎷
I do the half-step away, and also the tritone sub. But probably what works best for me: in the middle of the line, I’ll pick a target note, and then play any random triad arpeggio that has a note a half step away from that target note, and then resolve to the target note. It sounds so jazzy.
For example, in Eb: starting out in F dorian -> A-C-E -> resolving to Eb. The ACE in the middle is the outside triad. Of course you can expand and elaborate on this.
Another cool technique is to play a little motif, then repeat it a minor third away (usually higher).
With both these techniques, the ear hears you go outside, but it also recognizes and accepts the structure. In the first case, the triad, even if it’s non-diatonic, is still a triad, and the ear gets this. In the second case, repetition alone gives the ear its understanding. So, in both cases you go outside and come back in, but the ear still is able to follow and it sounds cool and jazzy.
Thank you so much! The beginning was straight fire!
Alberto thank you, Alberto!!
Step 1: take instrument outside
Nathaniel LaPointe ;)
it's an opportunity for Jacob Mann lol
Great video & instruction;very hip lines ! You've got to explain your breathing technique ;curious as to how effortless it appears ?
Superb information Chad. thanks for sharing your incredible talent and knowledge.
Fantastic..😊❤
excelent!!
very cool dude! what brand/strength reeds do you use?
New fan here ...just discovered you in the past couple days... actually first time seeing you was in a vid you did with Jay Metcalf (Better Sax). I get a big kick out of all your theory lessons and the performances (last I listened to was "Caravan"). It must hurt to be so damned impressive! :)
Telling my friends about you! Thx!
Thank you, Mark! That means a lot!!
@@ChadLefkowitzBrown .... I'm a senior guy, in the last 5 years ran into my high school band director and fill in with his old timers band (which hasn't been meeting with the CV19 thing). Short version, I sent him some of your Tube links. I know he'll enjoy them. Thx!
My approach to play outside : I try desperately to follow the chords progression. Each time I fail... I play outside !! 😂😂
wow, love your sound and your ideas and as well as your explanations.
Thanks bro. With all the time I spent during quarantine playing inside I kind of forgot how to play outside.
So good as always Chad! I've got 4 of your pdf's and have been using them every practice session. I'll definitely purchase this one at some stage soon. Thank you very much for all you do!
Angus Graham thank you, Angus!! Happy shedding!!
Chad, this is the single most amazing tutorial on this subject I have ever seen around!!
I have always felt that playing outside is a simple thing, at least from a theoretical point of view, you know, tritone subs and all, but what was always missing is someone taking it step by step and showing how the sound is actually created!
Thank you so much for this bro.
Thank you for this gem!!!
Thanks for watching!!
Thanks, good ideas
Great clarity…Great work thx.
Yeah, I like this alot!
Cool!
Awesome vid mate...cleared alot for me thx
thanks for sharing - very helpful
amazing lesson!
I can’t wait to go back outside thanks for the advice Chad
Chad you are a mega huge player bro
Really helpful CLB.
Do you have a pdf for trumpet
LOVE IT! Excellent job! Do you have any thoughts on playing double cushion?
Thanks for this!
chazpres514 thanks for watching!
Excellent as always. I wonder if you would add a fifth thing, that it also sometimes sounds really good to wrap up the phrase shortly after the harmony resolves in the 3rd bar. Sounds similar to using altered dom scale. Thanks
Inside Jazz Guitar yep that’s what the third phrase in the video does and that would be covered under category 1 - “where and for how long do you play outside?”
Inside Jazz Guitar and altered dominant is often an inside chord if it’s used with an altered chord :) Remember, the trick is to just go outside of the written chord, and altered dominant on regular dominant only creates a moderate amount of tension (which is totally cool too) but there are options for more tension!
Brutal!!!! Por favor haga un video de cómo estudiar rhythm changes máster. Saludos desde México.
What about playing in and outside with pentatonics ?
Coltrane was a master at this.
I asked on IG, and I hath received a video on YT explaining. Thanks Chad, will definitely be picking up the book!
Kyle Robert haha funny timing :) thanks man enjoy the content!!
Thank You! 🙏🙏🙏
Great vid thanks
Hi Chad. I've watched a few of your videos,very good,thanks. My question (chromatic harmonica or guitar here) is why is the major seventh used so often on dominant chords in jazz,even when it is the actual dominant of the key signature?(i.e. an F# over G7 in C major)
Is it that the 3rd of the related flat five sub the spelling rationalization? Also what is the half step under dominant rule explained as explained by theorists?
This was impressive, but definitely outside my understanding :)
Do you have any published music on iTunes? Love the sounds of that sax.
Honestly the only tone over a dominant chord that could be truly considered outside is the major 7th and even that can be used as an escape circling tone or an escape approach tone. Also the other functional radical is the minor 3rd but not if you use it like a +9. But honestly the best way to play outside is to study what and how Kieth Jarrett, Dewey Redmond played on Gotta get Some Sleep or Mushi Mushi or etc. Because the truly best way to play out is to play in the Ornette Coleman tradition. You'd be surprised how many great learned cats can't do that. Because if you just play bop on Happy House or Invisible you WILL be and sound square.
Don't be silly.
Hi Chad
Thanks for the video. In the video you mentioned maj7 vamps. I know lots of tunes with m7 or dom7 vamps but I don’t recall one with a maj7 vamp. Do you know some? Thanks!
nice!
Ok, awesome info as always but you left out the answer to one question: So, should I put a fork into an outlet every day or just from time to time to become a better player? And don't tell me it's not a thing! I already had that discussion with Bob Ross when I tried to become a painter!
thank you
Not allowed to play outiside during the quarantine :(
😃
Still can't understand how this guy plays with an embouchure that seems like it isn't even holding the mouthpiece.
He just places his lips on the mouthpiece and that's it. To tension, no form, just placement.
I can't get over it.
Not sure if he does double cushion oboe style Emb. like Branford Marsalis,I use that a bunch and have been for years .occasionally I put my top teeth on. I find it very comfortable and get the sound I want without top teeth on, also easier for me for the altissimo.
Could you recommend a method?
"You do this and you become a hero,i do this and people run away,that doesn’t seem fair "
- any musician to jazz players...
Excellent 🎉❤😂
You're Amazing
Damnnn
Joey Rivero thanks man! :)
Chad LB I’ve been watching all of your videos on diminished scales and they are super helpful! I hope i can play like that one day- I’m only 13
9:39 It seems more like F#min7 though?