Nice video. It might be helpful to many of those watching that this is not an example of soloing “outside” of traditional tertian chords. A large percentage of what is presented in this video is modal soloing over quartal structures. In quartal comping, this yields incredible freedom while soloing, because there are no avoid tones. You can use pure modes, pentatonics, 4th-based arpeggios (like Rick’s sus4 examples, which are practically quartal already and only two notes shy of being pentatonic. In songs where you want to preserve the tertian changes and still develop interesting solos with “outside” moments, learn about chromatic enclosures, approach tones, linear chromaticism, and reharmonization. Soloing over quartals is ALMOST (but not quite) as easy as soloing over a traditional blues progression. When soloing in the McCoy Tyner fashion (such as this), I like to play around with similarities and contrast between modes by moving the quartal structures around by various patterns, and in the improvised melody, having the choice to emphasize similarity or contrast (or even sometimes both).
Well, I wasn't going to write in so much detail, how misleading this is, but I'm going to write, that if he wanted to show, how modal progressions work, the least he could do, would be to analyze a McCoy Tyner passage and realize, that this is not so simple as he's trying to convey.
Your harmonic knowledge, concepts and digital dexterity are reducing me to tears. All that, allied with a super clear and sober explanation. Fantastic!
You are a very modest person. Many musicians will die for the knowledge that you have. Your lesson is very inspiring, and easy to understand. I'm most certain many musicians have benefited from this. I'm a bass player. I can visualise, in a parallel world, the enjoyment of playing a session with you
It really helps to use melodic minor scales like Abmaj7+5=Fmelodic minor or Gbmaj7+5= Ebmelodic minor. All that matters is that C is in the chord scale
10:04 feels like E maj in the RH, F#713sus4 in the left, which you could also regard to be half a step up from Cm 713 (Dorian). C#m713 being the relative II of that F#7 chord. Great video! Thanks so much !!
More than most instructors that I have tried to learn from, you have a way of deconstructing so much, while being able to make it fit together, and seem 'do-able', with the reasonable investment of time.
Marco, great question. I'm experimenting with a new app where you can ask me questions and I make video answers. Would you mind asking that on the app? I'll answer 100% of the questions asked of me this week. If you email me at greg@weebid.app, I'll give you access to the beta app where you can ask the question.
Excellent. I wish I could view your TH-cam videos while I'm working on the water, but at least I can see them from coffee shops on land! THANK YOU VERY MUCH for sharing your knowledge!!
Hey, man! First, congratulations for your videos! Everything so clear and helpful! Could you give us some light about left hand? Exercises or/and examples that you use during your solos...
+Estêvão Flores Thank you! I do have another video focusing on left hand comping over Blue In Green. I'd be happy to make one about this specific type of comping - but you'd have to order it at www.weeklypiano.com ;)
Please make a video breaking down some of those fast runs u were playing, I just wanna pick your brain and figure out what you're thinking about when doing crazy runs like that and maybe even slowing them down to see the notes you're playing, as I'm new to this jazz style and you're one of my inspirations and influences on my style
Hi Greg, hope all is well with you. What harmony are you using when you play Ab sus? Would you use different harmony from Ab dominant? Thanks for sharing. Such a great tutorial video. Best, Tatar
The last chord you did was a gb sus (13), which you resolved, while playing an e major Arp on top, thus hitting the 4, 7 and 9 of gb. For the points :) Nice video, Thanks. Will play around with this today.
This is awesome! I love improvising over a pedal. I'm curious about how you make decisions to use the sustain. When do pull it up? When do you leave it down? I love what your doing, but my sound tends to get muddy harmonically when I use the sustain at all.
Close!!! The Gb Eb- F#7 was actually all just an arpeggio on Gb, followed by an E maj, then back to C. Essentially, a simple pattern outlining mostly pentatonic major ideas down in whole steps 3 times and back to the 1.
wow amazing... keep it up and sharing your talent and knowledge. im ur instant fan. just one question ,ive been trying to jam,the song chicken by jaco p, it a set of dominant 7 chords. can i also apply your major minor technique? i see in your vids u usually use it on minor7 chords. can u possible give a sample vid on soloing over dominant7 ang major 7ths?
Hi just a quick question! Did you learn these concepts from a book or transcription? I've done quite a bit from Mark Levine's Jazz Theory book but I don't recall topics covering things like playing outside the changes
9:51 ( all over C)C major to Aflat major (basically major to minor) and then whole steps down: Gflat major to Emajor. whats kind of funny is that in Aflat and Gflat, lydian is logical as d and c are the #11 and more in Cmajor than d# and c#, while your voicing E in Lydian over C implies C7#9. Great stuff
Great content! But since your implying harmonic context on your left hand, at least for me it doesn't sound like outside, it's like your playing through chord changes. Correct me if I'm wrong but I always thought this subject occurres when harmony stays exactly the same but only the leading part is outside the changes, otherwise this are just chord substitions right?
wait. isn't playing Abmaj over Cm C-phrygian? not trying to be pedantic but that's not the same notes. that's why it sounds so cool. great video though. awesome ideas
Yes, that's another way to think of it - changing from C dorian to C phrygian. Indeed any "outside" scale that has C in it could be regarded as a mode or scale on C. But thinking of it as a major Ab scale means you might focus on Ab as the temporary centre.
Thanks for the lesson but it's a little too confusing to me. You seem to be playing more in a McCoy Tyner style. Could you please do a short video on how to play outside in a straight ahead style on basic chord progressions such the 2-5-1s on Autumn Leaves? You can look up "Cory Henry and Bill Laurance Autumn Leaves" on TH-cam to see what I'm referring to. It would be nice to get some insight on that. Thanks!
DDDDDDDDDDDDDDAAAAAAAAAAAAAAMMMMMMMMMMMMMMNNNNNNNNNNNNNNN good video!!!! THat's crazy!!!! I totally get it as I sometimes randomly use a pentatonic that has the 1 in it anywhere. Good stuff.
that's very helpful.. i just wish you'd slow down a bit when you're explaining things... and be a little clearer; it's almost like your'e talking to yourself at times.. cheers though, much appreciated
Oh boy, as a student you are confused and as a teacher you're confusing, it's like you don't have a clue of what you're talking about. Please, pick up a couple of passages from McCoy Tyner's numerous solos over pedals, (specially with Coltrane), and analyze them, you will find it a lot more intricate and simple at the same time, than what you're trying to convey.
Nice video. It might be helpful to many of those watching that this is not an example of soloing “outside” of traditional tertian chords. A large percentage of what is presented in this video is modal soloing over quartal structures. In quartal comping, this yields incredible freedom while soloing, because there are no avoid tones. You can use pure modes, pentatonics, 4th-based arpeggios (like Rick’s sus4 examples, which are practically quartal already and only two notes shy of being pentatonic. In songs where you want to preserve the tertian changes and still develop interesting solos with “outside” moments, learn about chromatic enclosures, approach tones, linear chromaticism, and reharmonization. Soloing over quartals is ALMOST (but not quite) as easy as soloing over a traditional blues progression. When soloing in the McCoy Tyner fashion (such as this), I like to play around with similarities and contrast between modes by moving the quartal structures around by various patterns, and in the improvised melody, having the choice to emphasize similarity or contrast (or even sometimes both).
Well, I wasn't going to write in so much detail, how misleading this is, but I'm going to write, that if he wanted to show, how modal progressions work, the least he could do, would be to analyze a McCoy Tyner passage and realize, that this is not so simple as he's trying to convey.
Great video and explanation. I love the quote..."I could do better if ... I worked on it.." ....Story of my life brother.
Your harmonic knowledge, concepts and digital dexterity are reducing me to tears. All that, allied with a super clear and sober explanation. Fantastic!
Thank you!
You re a fantastic teacher. Very generous with your time. Thanks!
You are a very modest person. Many musicians will die for the knowledge that you have. Your lesson is very inspiring, and easy to understand. I'm most certain many musicians have benefited from this. I'm a bass player. I can visualise, in a parallel world, the enjoyment of playing a session with you
It really helps to use melodic minor scales like Abmaj7+5=Fmelodic minor or Gbmaj7+5= Ebmelodic minor. All that matters is that C is in the chord scale
Great videos
Please can you develope the same concept extended in mayor chords?
10:04 feels like E maj in the RH, F#713sus4 in the left, which you could also regard to be half a step up from Cm 713 (Dorian). C#m713 being the relative II of that F#7 chord.
Great video! Thanks so much !!
Hey, this video had just changed my life. Seriously. Thanks a lot
Nicolas Aiziczon wow, thank you so much!!!! That makes me feel like I should keep making more
More than most instructors that I have tried to learn from, you have a way of deconstructing so much, while being able to make it fit together, and seem 'do-able', with the reasonable investment of time.
Awesome lesson. What's the scale you think about when you play on a suspended chord?
Marco, great question. I'm experimenting with a new app where you can ask me questions and I make video answers. Would you mind asking that on the app? I'll answer 100% of the questions asked of me this week. If you email me at greg@weebid.app, I'll give you access to the beta app where you can ask the question.
Excellent. I wish I could view your TH-cam videos while I'm working on the water, but at least I can see them from coffee shops on land! THANK YOU VERY MUCH for sharing your knowledge!!
So damn good man, I love all of your videos! Thanks a million for sharing.
Hey, man! First, congratulations for your videos! Everything so clear and helpful! Could you give us some light about left hand? Exercises or/and examples that you use during your solos...
+Estêvão Flores Thank you! I do have another video focusing on left hand comping over Blue In Green. I'd be happy to make one about this specific type of comping - but you'd have to order it at www.weeklypiano.com ;)
O.k! Thank you!
As a guitarist i took a lot from this video. You are the man
Awesome and clear in explaining the concept! This helps a lot! You are very talented. I love the way you play. Inspiring! Cheers!
Thank you! You sound amazing, it's interesting to hear what's going on in your head while you play.
Please make a video breaking down some of those fast runs u were playing, I just wanna pick your brain and figure out what you're thinking about when doing crazy runs like that and maybe even slowing them down to see the notes you're playing, as I'm new to this jazz style and you're one of my inspirations and influences on my style
Hi Greg, hope all is well with you. What harmony are you using when you play Ab sus? Would you use different harmony from Ab dominant? Thanks for sharing. Such a great tutorial video.
Best,
Tatar
The last chord you did was a gb sus (13), which you resolved, while playing an e major Arp on top, thus hitting the 4, 7 and 9 of gb. For the points :) Nice video, Thanks. Will play around with this today.
This is awesome! I love improvising over a pedal. I'm curious about how you make decisions to use the sustain. When do pull it up? When do you leave it down? I love what your doing, but my sound tends to get muddy harmonically when I use the sustain at all.
🎉 great stuff, thank you for sharing 🎉 hope you are well God loves you deeply shalom 🤗🐼♥️✝️💐 Philippians 4:8
Very cool lesson thanks
9:51 CMajor Aflatmajor7(also #11) Gflatmajor7 or Eflatminor7 Fsharp7 sus and then dominant 7 to C
Close!!! The Gb Eb- F#7 was actually all just an arpeggio on Gb, followed by an E maj, then back to C. Essentially, a simple pattern outlining mostly pentatonic major ideas down in whole steps 3 times and back to the 1.
I was wondering what were you doing in your left hand ? Please help!
Thanks master!! Really interesting!!
very good work man...thanks. very nice sounds produced right there.
Where do you learn your lines?
Worth watching your TH-cam channel love from Sikkim
very smart concepts !! great
wow amazing... keep it up and sharing your talent and knowledge. im ur instant fan. just one question ,ive been trying to jam,the song chicken by jaco p, it a set of dominant 7 chords. can i also apply your major minor technique? i see in your vids u usually use it on minor7 chords. can u possible give a sample vid on soloing over dominant7 ang major 7ths?
thanks man helps a lot GOD bless you
Thanks so much for this video. It is exactly what I needed!! Keep it coming. Do you give lesson?
Do you work in studio with other artist. I would love to work with you on my next project.
Hi, do you have transcription of any of this? Ty
I don't...anyone else wanna transcribe this??
Love your video, very helpful!
Thanks!
Can you elaborate on what left hand is doing?
You are about to make me an absolute beast.. I will post my very first video of me playing because of you
superb video, thanks
Hi just a quick question! Did you learn these concepts from a book or transcription? I've done quite a bit from Mark Levine's Jazz Theory book but I don't recall topics covering things like playing outside the changes
Im a little confused with the left hand, what chord are you doing about 6:55 sec?
Thankyou so much fox! This is so usefull for me, i hope you will share more and more videos like this, see you!
Sounds a lot like what John Hicks does
Watching this in 2019 still feels stupendous !😎😍
dr.alpna sunil :)
The last chord you went to that you didn't tell us was Emajor 7th
9:51 ( all over C)C major to Aflat major (basically major to minor) and then whole steps down: Gflat major to Emajor. whats kind of funny is that in Aflat and Gflat, lydian is logical as d and c are the #11 and more in Cmajor than d# and c#, while your voicing E in Lydian over C implies C7#9. Great stuff
buuut when i just relistened, the ear doesnt really make that connection....
but E lydian is justified by the sequence
+weeklypiano right?
Green dolphin str.
outstanding (the changes) video
!!
so helpful! Thank you :)
Saludos,
En el minuto 6:55 el acorde se llama C maj 7 #9 es el 6to grado de la escala harmonica menor.
Miguel Angel hola!! Me podrías decir cual es la progresión de acordes? No Le sigo tan rapido... Jjj
THis is the most AMAZING video!!!! So informative and just damn good
Great content! But since your implying harmonic context on your left hand, at least for me it doesn't sound like outside, it's like your playing through chord changes. Correct me if I'm wrong but I always thought this subject occurres when harmony stays exactly the same but only the leading part is outside the changes, otherwise this are just chord substitions right?
No means to sound disrespectful at all!
6:55 Cmaj 7 # 9 sexto grado de la escala armonica menor de E
wait. isn't playing Abmaj over Cm C-phrygian? not trying to be pedantic but that's not the same notes. that's why it sounds so cool. great video though. awesome ideas
Yes, that's another way to think of it - changing from C dorian to C phrygian. Indeed any "outside" scale that has C in it could be regarded as a mode or scale on C. But thinking of it as a major Ab scale means you might focus on Ab as the temporary centre.
Awesome!
0:26 C Dorian!?!??
9:51 Emajor 7 or C#-7/F#7 to C
you're playing on C but your left hand went a lot on Gflat, what chord is that?
+Justinus Andjarwirawan thats the tritonis substitution of C. Look it up, its really common in jazz
+ThomasNL thanks, didn't notice that. 3rd and 7th are the strongest keys in a chord, so C7 will sub F#7. Got it.
I love your videos man!!
yeah bruh....i feel ya
Sir if you play it little bit slowly that will be very helpful to us ........
@3:33 is KILLER line bruh idk what you sayin
I think you went ->C Major -> Bflat/Bflatsus->aflatsus->Gflat dom 7-> C Major at about Minute 10.. Not sure though :P
Nice Video by the way.
Thanks for the lesson but it's a little too confusing to me. You seem to be playing more in a McCoy Tyner style. Could you please do a short video on how to play outside in a straight ahead style on basic chord progressions such the 2-5-1s on Autumn Leaves? You can look up "Cory Henry and Bill Laurance Autumn Leaves" on TH-cam to see what I'm referring to. It would be nice to get some insight on that. Thanks!
DDDDDDDDDDDDDDAAAAAAAAAAAAAAMMMMMMMMMMMMMMNNNNNNNNNNNNNNN good video!!!! THat's crazy!!!! I totally get it as I sometimes randomly use a pentatonic that has the 1 in it anywhere. Good stuff.
sir I have seen your many videos, but i donot know your NAME?
I think it's Greg Spiro.
3:37 is perfect 4 me. great videos, this one specially! thanx
MODAL JAZZ...
Wow. Nice video
Great video man but for me you went kinda fast...I'm a beginner jazz
Can you do chopsticks?
All the spices!
THE BEST
that's very helpful.. i just wish you'd slow down a bit when you're explaining things... and be a little clearer; it's almost like your'e talking to yourself at times.. cheers though, much appreciated
Dude, if you're not famous it's a mystery why
genius
.
Playing outside is not your strong point
Oh boy, as a student you are confused and as a teacher you're confusing, it's like you don't have a clue of what you're talking about. Please, pick up a couple of passages from McCoy Tyner's numerous solos over pedals, (specially with Coltrane), and analyze them, you will find it a lot more intricate and simple at the same time, than what you're trying to convey.
You show off more than instruct
unorganized explanation.