And another heads up . Dani is talking about advanced improvisation in this and a lot of his content not composition. If you watch a video about outside playing (how to approach it) don't expect it to talk about basic song structure. but hey I'm off to watch some cycling videos to help me fix my car.
The altered scale on the V in his example is plain jazz in a melodic construct.
Yes, instructional, but on an existential contemporary plane of construct only known to roll-your-owners. Which is why I bowed out after I realized I'd need a hit off a bong to understand any of it.The altered scale on the V in his example is plain jazz in a melodic construct.
Now the altered played over the 5th is the Lydian Dominant played a half step higher than the minor root.
This is what some describe as the “lift”.The altered and Lydian Dominant are modes of the melodic minor. Another example is to play the melodic minor on the tri-tone…which if you are looking for the Lydian Dominant is a half step below the minor root. So, for sanity I simplify his examples to a half step above or a half step below using the lydian dominant.
The half whole symmetrical example is a little weird in that I like to play the whole half instead. For an example check out Larry Carlton’s opening solo on So What.
Still, it is a cool presentation with some good info and his sense of humor is intact.
Thanks for responding. Dani is light-years ahead of most classically-trained jazz guitarists, but listening to him describe theory just rubs me the wrong way. Folks who have a background in jazz will have less difficulty understanding Dani. To be fair, if perhaps you do subscribe to his channel, Dani has lots and lots of reference videos you can learn from.And another heads up . Dani is talking about advanced improvisation in this and a lot of his content not composition. If you watch a video about outside playing (how to approach it) don't expect it to talk about basic song structure. but hey I'm off to watch some cycling videos to help me fix my car.
I obviously like him. I think he gives the information that almost no one else ever does. The prerequisite is that your fluid in conventional playing over changes and the scales required . This is actually a methodology that you find in a lot of great players . How to control outside playing and it not just sound like shit is something not often covered. As an introduction to "outside" playing the sidestep is the one that is easiest to incorporate and a great springboard for something interesting.
I used to beat my head early on, but eventually what happens is an “ah hah” moment. You have to have all these disconnected pieces floating around and then, “Hey, I see how it connects!”. But yer right, chew slowly!
I liked the video and I thought he provided a clear explanation of the inside and outside notes for each method. And then played an example. In the context of the video, playing in then out then in was useful and well explained WRT “connecting”.
Where else would I see dozens of episodes exploring Messiaen concepts with the brilliant Brett Stine? The video shared is funny and it clearly reached people. Mission accomplished. And thanks Andy for sharing.
Why the drug reference ? it is all just top quality music theory with a sense of humour. Every truly memorable Jazz great has used this concept but this is a step in to how.
My apology for the cynicism. It's just that fast-paced indigestible speech grates on me. This happens when you grow older and can't understand as much of what is said. Notice I didn't say can't hear what is said. Understanding what is said is much more important.
That may be true, but if you've ever tasted something your taste buds severely disagreed with, you'd likely say "No, thanks." My feeling is that when promoters give you a taste of something, you're expected to like it, otherwise, we move on. If you do like it, that's how various peoples bridge language and ethnic barriers. But if the food still disagrees with you, it's really an "acquired taste."
