ayo it might just be me, but the fact that he was like “it’s simple, just use the scale a half step above / below; like this” and then proceeded to display years of fluency and experience in the bebop language via a single lick cracked me the hell up! Thank you! 🙏🏽
Those pink upside down sunglasses should be an Icon staple of you. It just shows your not affraid to step out of othe box. Lol. Man, your playing and lessons are soo good. You are very much appreciated. MORE sunglasses antique!
I love the minor thirds/major thirds idea. I’ve flirted with that as a result of exploring the major and minor triads of the diminished scale and augmented scale but haven’t gone directly at it like this. My favorite approach to outside playing now is that whole intervallic improvisation idea of picking two intervals to alternate strictly between while switching direction at will. Out of that general idea, emerges a bunch of non-harmonic patterns that I’ve grown comfortable with and can string together an unlimited amount of ways. You can do it with any interval pair but I’ve been really focused on whole-step/half-step, so far. It sounds like a floating diminished scale that doesn’t care what the chord is. I’ve worked with whole-step/minor-3rd some and that sounds like a floating pentatonic sound. Looking forward to working with whole-step/perfect 4th, though. Floating suspended.
Thanks, great lesson! It´s amazing that the major 3rd sub works, but somehow it does. It would be great to see your left hand´s digitation in future videos 🙏
Thank you for this lesson ! I have learnt a lot thanks to your pdf with jlv, they are a big source of inspiration for me. Can't wait for your next video on outside playing ! 👍👍👍
great lesson thank you i would like to see more examples of playing outside with the use of pentatonics or triad from diminished wh/hw you're a really great guitarist
How about using major from half-step lower? In case of Dm7 that woud be Db lydian/ioninan/major pentatonic? I remember some guy saying that this is the old trick many famous jazzists used. This concept seems based on mixing major / minor tonalities in the melody. In this case Dm7 can be seen as III in Bb major while Dbmaj7 is bIII from parallel Bb minor. You can also find similar connection between VI Gm7 and bVI Gbmaj7.
Hi there Cecil, hope you're well. Recently discovered your channel, it's excellent and very rewarding. Having played guitar for almost 40 years, could you give me any advice regarding playing lead lines at speed? I'm a relatively proficient player, not spectacular, but I'd like to 'up my game', and knock out some faster lines. I appreciate it's not about speed, but I'm wondering, at my age, have I simply reached a point of no improvement? I play every day, have studied some comping, some Charlie Christian lead lines, some Tiny Grimes, etc. I can hold my head up with jazzing the chords, but I don't seem to be getting quicker with lead lines. I'm happy playing changes, as they say. Is muscle memory holding me back? Any suggestions gratefully received, and apologies for the rambling message. I really appreciate your videos. Peace and love.
Cecil, first of all - THANK YOU for this rich knowledge ! Regarding possible lessons - Did you get into those Martino cycles where he had those geometric shapes but were like chord synonyms of each other? - its been about 20 years since I’ve seen that (it was diminished and augmented cycles - something like that )
I can't say I really got much from any books, just recordings. I think for the harmonic side of things, checking out Trane and Mccoy is a good place for ideas. The vocabulary in the lines is mostly bebop derived though
Good stuff. A suggestion though. on a lesson like this it would be much better with a backing track or just a vamp recorded into a looper pedal and played back while improvising. It would just be better to hear the substitutions over the respective minor chords. Anyway, great stuff
Yeah I thinkyou can use it on all those, but the diminished chord is often functioning as a dominant chord (ex: C#dim7 to Dmin7 is the same A7b9 to Dmin7), so I'd think of the related dominant (and its related subs) while soloing
Very interesting , any explanation why moving minor or major third above would sound ok ? For minor third there might be some « relation » with diminished scale (not really sure) but what also about major third stepping ? Thx very much
Sure thing! You're right about the minor third sub idea being loosely related to the diminished scale/arpeggio, and I mention in the description that some people justify using the major 3rd thing to the augmented triad, but I don't think that really tells you anything about the way it sounds. I'm not too big on theory as a means of generating ideas, because that way of thinking stopped me from actually playing anything for so many years. Anyways, it just sounds cool! lol
I'd say trust your ears (because anything can work) but I think that I'm mostly playing nat. 6 stuff- with the exception of the 1st line- there's a b6 on the dmin7 at the end. I'm usually more into Dorian and Melodic minor than Aeolian
Loved the sunglasses trope… great playing but too fast to follow as a lesson and need to see whole neck. (71-year-old amateur here.) Maybe smaller chunks parsed and slowed…?
Cecil, thank you for that short and on point presentation. As for lesson ideas, I'd be glad to see your approach on connecting different related (and no so much related) modes\scales with diminished wh\hw scales. I can see that answer is within this question but I guess you might have some interesting waypoints on this topic.
Thanks for watching! Cool idea. Just to clarify, do you mean outlining diminished harmony (dimmaj7 chords, 13b9 etc..) or forcing the diminished sound on different harmonies?
@@cecilalexander8773 I meant mostly the easier to grasp for me - second option: forcing the diminished sound on different harmonies. So if we got context of one family of diatonic basic chord shapes - maj7, min7, dom7, halfDim7 - and I want to go from outlining one chord\mode to another by connecting them with dim7 lines\patterns. Jumping from one mode to another in one same Scale. Like from Dorian Dm to Dom G7 - in one diatonic family. Or may be even switching scales like from Dorian Dm to some mode of melodic minor. 1st obvious thought is to ground on similar intervals in diatonic h-w or w-h to same intervals of dim7 pattern. My problem in this case is when I try to play it - it goes quite mechanical, doesn't sound natural. I saw Benson (or any other master) does it, going in and out of dim7 in improvisation and it sounds solid. But I don't have example. Again it might be some surface level thing by I'm still not moving forward with this topic. So it bothers me.
I've been faking it for a few years. Just playng all those notes in between the diatonic notes. Now I'm starting to understand without an understanding
This is wisdom right here. Secrets. It is difficult to intuit something like this with ear training alone because it requires you to track polytonal harmony in real time. Standard jazz harmony is already difficult enough for most. Tracking two or more keys simultaneously requires breaking out of the formal system that ear training and music theory are taught in. Have fun figuring this out by applying solfege to sets of notes that are almost entirely in another key. I guess they call it playing out for a reason… Also if you need to see exactly what’s being played in order to understand something like this then it’s probably out of your reach…go learn how to play a G major chord…in tune…The point isn’t to copy this guy’s lines note for note. If anything the transcription is more useful for mapping out the relationships of each individual note to the chord it’s harmonizing with anyway. And if you actually understand what this dude is saying you can apply the ideas yourself and make your own lines. Great video. Subscribed for more info about this type of playing.
![ปฏิเสธไม่ไหว (Crush on you) - LIPTA feat. No One Else [TEASER MV]](http://i.ytimg.com/vi/VC689EgdSIw/mqdefault.jpg)
![ค้างคืนโรงเก็บกระสวยอวกาศร้างกลางทะเลทราย [Around The World Ep. 3]](http://i.ytimg.com/vi/E5bWZQhABJE/mqdefault.jpg)
NICE SOUND ETC..BUT CAN'T SEE THE ENTIRE GUITAR NECK...
Dude he posted the notes. Just read the music lmao
😂
But look at his door!
ayo it might just be me, but the fact that he was like “it’s simple, just use the scale a half step above / below; like this” and then proceeded to display years of fluency and experience in the bebop language via a single lick cracked me the hell up!
Thank you! 🙏🏽
He rips through those lines like they're nothing. We'll get there one day.
In less than 5 min everything I’ve been wondering for the last 20 years. I love you.
Those pink upside down sunglasses should be an Icon staple of you. It just shows your not affraid to step out of othe box. Lol. Man, your playing and lessons are soo good. You are very much appreciated. MORE sunglasses antique!
Thanks so much and thanks for watching! The sunglasses add a lot to the tone
You've been killin it lately with the content! I hope you continue to talk about outside concepts more in the future.
Thanks for checking it out! Definitely have a lot more to say about outside stuff, more to come
These concepts work really well for bass too. Thank you for this lesson.
I love the minor thirds/major thirds idea. I’ve flirted with that as a result of exploring the major and minor triads of the diminished scale and augmented scale but haven’t gone directly at it like this.
My favorite approach to outside playing now is that whole intervallic improvisation idea of picking two intervals to alternate strictly between while switching direction at will. Out of that general idea, emerges a bunch of non-harmonic patterns that I’ve grown comfortable with and can string together an unlimited amount of ways.
You can do it with any interval pair but I’ve been really focused on whole-step/half-step, so far. It sounds like a floating diminished scale that doesn’t care what the chord is. I’ve worked with whole-step/minor-3rd some and that sounds like a floating pentatonic sound. Looking forward to working with whole-step/perfect 4th, though. Floating suspended.
Thanks, great lesson! It´s amazing that the major 3rd sub works, but somehow it does. It would be great to see your left hand´s digitation in future videos 🙏
Amazing content and playing as always
Thank you!
Nice quick lesson mate! 😊
Thanks James!
Great explanation, nice playing.
You sound really nice on the classical! Would like to hear more of that
Thank you for taking time out of your day to do this.😊
This was great. Straight to it and concise and clear explanations of the concepts being taught. Thank you.
Thank you for this lesson ! I have learnt a lot thanks to your pdf with jlv, they are a big source of inspiration for me. Can't wait for your next video on outside playing ! 👍👍👍
Simple but really useful lesson and astonishing demonstrations !!
Great work !! Look forward to see more
This is useful info and examples with transcriptions. I know what I"m practicing today, thanks for the upload Cecil!
Perfect time is essential to execute these ideas so that the make sense.
great lesson thank you i would like to see more examples of playing outside with the use of pentatonics or triad from diminished wh/hw you're a really great guitarist
Great lines
Master! Great as always!!! Thanks for share!
Thanks for checking it out!
Lots of information in just a few minutes! Wow!
Damn
Youre right hand 🔥🥵
Thankyou good lesson, im working on it right now!
Incredibly useful information!
That was extremely helpful. Thank you.
This is brilliant, will go though all the lines shown to understand how to create lines to outline chords. I never really understood that.
Wonderful information and ideas. Thank you so much.
Killer playing and vibe cheers
Love that sound
Great lesson and I dig your teaching demeanor. You remind me of a friend of mine who’s one of the coolest guys I’ve ever met
Great quick lesson!!
This is good content, short and understandable, ty
How about using major from half-step lower? In case of Dm7 that woud be Db lydian/ioninan/major pentatonic? I remember some guy saying that this is the old trick many famous jazzists used. This concept seems based on mixing major / minor tonalities in the melody. In this case Dm7 can be seen as III in Bb major while Dbmaj7 is bIII from parallel Bb minor. You can also find similar connection between VI Gm7 and bVI Gbmaj7.
Thank you, Cecil.⭐🌹⭐
I enjoyed listening.
Excellent video=I subscribe, thanks
Killing lesson!! also, lmao at the video description
Haha thanks for checking it out dude
Super helpful, thanks!!
Loving those concepts! Thanks for sharing!
That's cool man, thanks for a concise lesson!
Thanks for checking it out🤘
You’re an amazing player, but I’d rather see your left hand than that doorknob
Hi there Cecil, hope you're well. Recently discovered your channel, it's excellent and very rewarding.
Having played guitar for almost 40 years, could you give me any advice regarding playing lead lines at speed? I'm a relatively proficient player, not spectacular, but I'd like to 'up my game', and knock out some faster lines. I appreciate it's not about speed, but I'm wondering, at my age, have I simply reached a point of no improvement?
I play every day, have studied some comping, some Charlie Christian lead lines, some Tiny Grimes, etc. I can hold my head up with jazzing the chords, but I don't seem to be getting quicker with lead lines. I'm happy playing changes, as they say.
Is muscle memory holding me back? Any suggestions gratefully received, and apologies for the rambling message. I really appreciate your videos. Peace and love.
Awesome stuff!!
Can you give me one or two examples of famous recordings where you got these ideas from? 🙏
Mccoy Tyner! A lot of his solos on Time for Tyner.
Thank you, that was really insightful!
Cecil, first of all - THANK YOU for this rich knowledge !
Regarding possible lessons -
Did you get into those Martino cycles where he had those geometric shapes but were like chord synonyms of each other?
- its been about 20 years since I’ve seen that (it was diminished and augmented cycles - something like that )
Cool thanks! 🔥
Best teacher Ever!!!!
Great lesson. Is there a book you can recommend where it demonstrates more lines like the ones you played? I need to improve my vocabulary.
I can't say I really got much from any books, just recordings. I think for the harmonic side of things, checking out Trane and Mccoy is a good place for ideas. The vocabulary in the lines is mostly bebop derived though
Thanks!!!
great....i can get some mileage out o' this!
Sweet!
Dude can play
Nice work 🤟🤠🤟
good stuff.thanks.
Tell us about enclosures and scale permutations in soloing
Good stuff. A suggestion though. on a lesson like this it would be much better with a backing track or just a vamp recorded into a looper pedal and played back while improvising. It would just be better to hear the substitutions over the respective minor chords. Anyway, great stuff
U doing an acoustic guitar album would be awesome.
one of my favourite ways to play outside is to just throw around a basketball with a friend. but sometimes its nice to bring a bike or skateboard too
Same can be applied to static Dominant or Major or Diminished?? Thank you 🙏
Yeah I thinkyou can use it on all those, but the diminished chord is often functioning as a dominant chord (ex: C#dim7 to Dmin7 is the same A7b9 to Dmin7), so I'd think of the related dominant (and its related subs) while soloing
@@cecilalexander8773 thx a million ✌️
Wish I could see your fretting hand the entire time! Great vid though! Subbed!
Very interesting , any explanation why moving minor or major third above would sound ok ? For minor third there might be some « relation » with diminished scale (not really sure) but what also about major third stepping ?
Thx very much
Sure thing! You're right about the minor third sub idea being loosely related to the diminished scale/arpeggio, and I mention in the description that some people justify using the major 3rd thing to the augmented triad, but I don't think that really tells you anything about the way it sounds. I'm not too big on theory as a means of generating ideas, because that way of thinking stopped me from actually playing anything for so many years. Anyways, it just sounds cool! lol
Great response , even more interesting than the video itself ! Have a nice day
The first clear and concise explanation I find on this subject.
Thanks a lot!
Cecil speaks: this makes sense
Cecil plays: this is f*cking insane
Great lesson! Thanks! In 1:30 there is a fault: you play Bb7, but Bbmin is written. ;)
by the time I realized it was already too late 😅
Dm7 is aeolian? the rest of outside options are aeolian, or can be switched to dorian, minor melodic, etc?
I'd say trust your ears (because anything can work) but I think that I'm mostly playing nat. 6 stuff- with the exception of the 1st line- there's a b6 on the dmin7 at the end. I'm usually more into Dorian and Melodic minor than Aeolian
this could be extended to major7 or dominant chords?
On minor thirds II V relations the first one on Fm7 to Bbmin7 is there any reason to keep it as minor the Bb or it’s Bb7 ??
it's a typo- should be Bb7
I appreciate the video and tab my brother but the door knob gotta Go! Fix the camera for next video, still big thumbs up and nice licks!
Loved the sunglasses trope… great playing but too fast to follow as a lesson and need to see whole neck. (71-year-old amateur here.) Maybe smaller chunks parsed and slowed…?
Nice door knob
Cecil, thank you for that short and on point presentation.
As for lesson ideas, I'd be glad to see your approach on connecting different related (and no so much related) modes\scales with diminished wh\hw scales. I can see that answer is within this question but I guess you might have some interesting waypoints on this topic.
Thanks for watching! Cool idea. Just to clarify, do you mean outlining diminished harmony (dimmaj7 chords, 13b9 etc..) or forcing the diminished sound on different harmonies?
@@cecilalexander8773 I meant mostly the easier to grasp for me - second option: forcing the diminished sound on different harmonies.
So if we got context of one family of diatonic basic chord shapes - maj7, min7, dom7, halfDim7 - and I want to go from outlining one chord\mode to another by connecting them with dim7 lines\patterns. Jumping from one mode to another in one same Scale.
Like from Dorian Dm to Dom G7 - in one diatonic family.
Or may be even switching scales like from Dorian Dm to some mode of melodic minor.
1st obvious thought is to ground on similar intervals in diatonic h-w or w-h to same intervals of dim7 pattern.
My problem in this case is when I try to play it - it goes quite mechanical, doesn't sound natural. I saw Benson (or any other master) does it, going in and out of dim7 in improvisation and it sounds solid. But I don't have example.
Again it might be some surface level thing by I'm still not moving forward with this topic. So it bothers me.
That drop D caught me off guard lol
lol I had been shedding some Lamb of God riffs before this
I've been faking it for a few years. Just playng all those notes in between the diatonic notes. Now I'm starting to understand without an understanding
3:23
This is wisdom right here. Secrets. It is difficult to intuit something like this with ear training alone because it requires you to track polytonal harmony in real time. Standard jazz harmony is already difficult enough for most. Tracking two or more keys simultaneously requires breaking out of the formal system that ear training and music theory are taught in. Have fun figuring this out by applying solfege to sets of notes that are almost entirely in another key. I guess they call it playing out for a reason…
Also if you need to see exactly what’s being played in order to understand something like this then it’s probably out of your reach…go learn how to play a G major chord…in tune…The point isn’t to copy this guy’s lines note for note. If anything the transcription is more useful for mapping out the relationships of each individual note to the chord it’s harmonizing with anyway. And if you actually understand what this dude is saying you can apply the ideas yourself and make your own lines.
Great video. Subscribed for more info about this type of playing.
Se ve claramente la perilla de la puerta 😂
looks cool but too fast and we dont see your left hand ? ok !
We can’t see your hands mate, turn the camera or scoot back
I played outside once but it started raining.