Playing Outside

[stworzenie]

Outside of what?

...of context/chord​ in the accompaniment

[Jonah]

In Auden's Table - Talks there was a story (quote from memory):

''When I was worked in Pentagon, I had Kafkian experience once. At the end of the day I was hurrying to get out of there and go home.
At the exit the guard stopped me and asked: Where are you going?
I said: I am going outside...
He looked at me closely and said: But you are already outside...''

[stworzenie]

2:04 outside of...rhythm

[agentsmith]

[fasstrack]

Hello again, Jack. Food for thought, thanks. I will certainly look into it. Got so involved listening I f'ing burned my toast!

Only drag: your head was cut off in the vid ...

[fasstrack]

Check out what Sonny Rollins (a great and original 'out' player when he chooses) does at the end of the waltz (I forget the name, sorry) on the Alfie recording. From memory, he's in C and plays a simple D scale against it. So cool...

[mokapot]

Other than sticking to a plan such as "play this scale up a minor third" I haven't really been able to play outside naturally. Now a couple of days ago I started playing any notes over any chord when I felt like it. I don't know how I'm doing it, just playing randomly I guess... but what I think is important is to really know "the inside" very well. There are so many sounds to discover just by changing the voicings and adding a bass note

[EJGuitar]

outside. what is this thing all about?

i dont consider changing modes is in that category. unless it clash the chord tone or unrelated to the center mode. outside is just that. out of the norm. guess why they name it outside.

david liebman's chromatic approach to jazz harmony somehow more makes sense to me. he addressed some of the approach in tonality context. for instance improvising on A blues progression while the actual progression is in Bb. its totally unrelated.

[Jonah]

outside. what is this thing all about?

In this thread it does not matter... it is important that it just should be about and about... about and about... about and about...

[Boston Joe]

david liebman's chromatic approach to jazz harmony somehow more makes sense to me. he addressed some of the approach in tonality context. for instance improvising on A blues progression while the actual progression is in Bb.
its totally unrelated.

I've had some limited success with that approach, but not the kind I'd like. I've done better with Garzone's Triadic-chromatic concept (though I need a LOT more practice at it).