Was trying to transcribe these guysSONG #1The chorus of this song, the bassline goes F#, E, Eb, D, Db, B, Bb, Eb, while the piano goes BEF#, ADF#, G#C#F# twice, so the chords I have areF#m11, E11add9, D#11, DMaj7(#11), C#m11, Bm7, Bbm7#5, Ebm7#5.Am I overthinking this?? A bit confusing cuz of the key, I wasn't sure whether to use Gb or F#SONG 2haven't tried to tackle this one yet but sounds like a bunch of weird sus-y and 11th kind of chords againWhere does this kind of harmony come from? I've seen similar things in Stevie Wonder etc tunes, but I'm kind of new to this (guitar player attempting to play piano over here).

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Quick tip: precede any chord tone with a semitone below. It's called 'chromatic approach'. It's an immediate bluesy/jazzy effect.You can also use any chromatic in any direction, in between diatonic notes. But landing on a chord tone is always what makes a 'wrong note' right.If you're not sure - if the wrong note still sounds wrong - (jazz tip no.2) just play it again. Repeat the little phrase where you started with the wrong note and resolved to a chord tone. 'Yeah that's right, I meant it, dude. Deal with it, you square.'

:-)In short (until you're comfortable with all this), don't attempt to use more than one chromatic note at a time, and don't attempt to jump from it. Jazz tip no.3: 'for any wrong note, the right one is always a half-step away' (which could be in either direction, but is usually a chord tone or extension).If you do feel adventurous enough to try a whole outside phrase, here's a double tip for that: (a) make it an arpeggio or a pentatonic phrase (to give it its own strong integrity), (b) plan a chord tone to land on, a half step below or above the last outside note.

IOW, when taking off, make sure you know where you're going to land. On mobile so excuse my formatting formatting in advance. This advice works really well in order to add the sound of passing tones and chromaticism to a non jazz musician's lines. However, the 'wrong notes till you find a right one' approach really set back my analysis and ability to play coherent solos, being that higher level jazz musicians don't AT ALL base their 'out' playing solely on random chromaticism. There seems to be a big emphasis on the modes of melodic minor (especially lydian dominant and the altered scale) as well as the whole tone scale.

Targeting chord tones chromatically is a byproduct of coming back 'in' after such embellishments, but is not the foundation of such playing. The notes that are played outside of the diatonic key area are still organized by melodic phrases, arpeggios, and chordal movement, just based on substitutions and extensions rather than the key signature. Here's how I do it.

There are probably other approaches too, feel free to look em up. Basically, when there's a chord being played, it's very rare that it'll play all the notes of the key (that would be a 13 chord). So, say it's a 7 chord like D7, it plays only 4 notes of the key. You can then extrapolate a different key that still contains these 4 notes that the chord has.

Say that D7 was in D mixolydian, you can craft many other scales with the notes 'D-F#-A-C'. Like instead of the natural 2 you can play an augmented 2nd, add an augmented 4th and minor 6th for good measure. That's how I see it. I'll make a little bit of a joke:Basically, if they can 'justify' it, it's OK.It actually usually sounds really bad to me.

In many cases, it sounds like they don't know what they're doing, or just doing it to try to impress people, and in both cases are justifying it through some extreme means which doesn't make it any better.(read on dear readers before extracting any single statement out of context and flaming and downvoting me for it - i soften that blow later:-)There are many ways to do it - still, I won't necessarily say any of these are always effective IMpersonalO.Many people just pick some scale that produces outside notes, and play that scale. Simple as that. And their 'justification' is at the core, that this collection of otherwise 'wrong' notes is part of some named scale, so it's OK.' Hey, I'm using Bbm Pentatonic over C Major for an 'out' sound'.(my response, while trying to be fair and open-minded is 'no, you're playing the wrong scale':-)Another, maybe more musical way (IMHO), is to use chromatic Non Chord Tones but not resolve them as soon as they would have been traditionally.An 'enclosure' is a great example - the chord tone may be an A, so the play could play a Bb or G# chromatic approach tone, or go from G# to Bb before the A - an 'enclosure' (chromatic).

This is sort of the beginning of 'out' and if you play these notes more, or longer, or don't resolve at all before moving on to another set, you get 'outside' playing.I think what happened is, people were doing just this, and other people went 'Hey, those notes make up X scale, so if I play X scale over Y progression, it'll automatically give me good outside playing'. So we sort of ended up with a 'dumbed down' approach as in my first example.Another very common thing is to 'anticipate' another chord change - so you actually start playing a new scale (or in a new key if you like) before the current harmony has ended. This makes only the tail end of a measure/harmony 'out' if you like but again it's a way to 'ease into' the sound without playing something that otherwise seems totally random. The opposite can be done as well - playing an old scale into a new harmony that probably should take a different set of notes (but this is less common because it's more likely to sound like that beginner who doesn't know to change with the harmony).Yet another thing which I actually really find to be more musically satisfying is what I might call 'sequential' or 'pattern-based' outside effects - as they sound more like that to me - intentional for a particular effect. Something like this would a 4 note lick that just ascends chromatically, or some arpeggio that is an odd chord to begin with that just descends chromatically, or in whole tones, etc.

Beyond Functional Harmony Wayne Naus Pdf Editor Free

To produce odd effect. For me, bonus points when they start 'in' and end 'in' in a logical way, with the stuff in between causing the 'out' parts of it.I suppose I'm guilty myself in saying here that I feel the 'sequential' aspect of it 'justifies' it in a way that's more appealing to me than a scale-based approach.But I'd like to say this: Even playing 'inside' notes isn't ever musical just becuase they're inside. Playing things Musically involves more than just note choices.

The people who just 'run scales' with inside notes are not very musical. So it stands to reason that doing the same thing with scales that produce outside notes will be any more (or less) musical.I think some people see that process as something that gives 'running scales' more - I don't know, 'complexity' or something, so again it's kind of a justification for playing non musically. 'hey, you're just running a Bb Harmonic Minor scale' 'Yeah, but I'm in E Major, so it produces an 'outside sound', isn't that hip?' IOW, look for musicality in musical gestures - whether they be diatonic or chromatic, in or out, not in 'scales' - it's not so much what you play, but how you play it!. Many people just pick some scale that produces outside notes, and play that scale. Simple as that. And their 'justification' is at the core, that this collection of otherwise 'wrong' notes is part of some named scale, so it's OK.If they are picking the scale based only on thr fact that it contains 'outside' notes, I see what you are saying.

But a scalar approach doesn't have to be 'dumbed down'.' Hey, I'm using Bbm Pentatonic over C Major for an 'out' sound'.For example, if that C Major is the V chord in a V-I and Bbm Pentatonic (not running the scale up/down, the collection of notes as a base) gives a desired 'outside' sound, we can say that on V-I resolutions that an 'outside' option is to pull from minor pentatonic a whole step below aka implying a iv-I over the V-I.To be fluent and musical takes time spent internalizing sounds you discover, yes, but thinking in scales doesn't have to be 'dumb' or 'ooo look I'm hip' haha. Just my 2 cents.

If they are picking the scale based only on thr fact that it contains 'outside' notes, I see what you are saying. But a scalar approach doesn't have to be 'dumbed down'.Agreed.yes, but thinking in scales doesn't have to be 'dumb' or 'ooo look I'm hip'Yeah, just saying it's kind of a common oversimplification or misconception for many.Maybe I should say, thinking scales' is slightly more dangerous in that it's easy to go to the dark side! It's easy to fall into that trap of 'just running scales' if you focus on that aspect of it too much.

Scales should come with warning labels!.