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In jazz improvisation, outside playing describes approaches where one plays over a scale, mode or chord that is harmonically distant from the given chord.There are several common techniques to playing outside, that include side-stepping or side-slipping, superimposition of Coltrane changes, [1] and polytonality.
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
Download as PDF; Printable version; ... 15-tet scale on C. Play ... Chord-scale system; Heptatonic scale; Jazz scale; List of chord progressions;
2- 5 1 means a minor 2 chord for two beats, then a 5 chord for two beats, then a 1 chord for four beats. If the measure is not evenly divided, beats can be indicated by dots or hash marks over the chord numbers. Three dots over a given chord would tell the musician to play that chord for three beats. Alternatively, rhythmic notation can be used.
Sometimes he used diminished chords, other times he used augmented chords. At times, Coltrane might use scales or licks in the passing keys instead of arpeggios. Coltrane employed these harmonic ideas during his "sheets of sound" stage in 1958. At other times, he would simply play rapid patterns of diminished-scales. [10]
This scale is often used over minor sixth chords. Barry Harris called this the minor sixth diminished scale and said that it is derived from a minor sixth chord (1 b3 5 6 of the scale), and a fully diminished chord from the second degree (2 4 b6 7 of the scale). [3] These scales are listed in David N. Baker's books on bebop.
The A harmonic minor scale can be used on the chords of a piece in A minor, especially on the minor ii–V–i chord progression. One of the most common uses of the harmonic minor scale is its fifth mode (phrygian dominant scale), which is a frequently used over dominant chords.
At its most basic, a single version of this blues scale is commonly used over all changes (or chords) in a twelve-bar blues progression. [7] Likewise, in contemporary jazz theory, its use is commonly based upon the key rather than the individual chord. [2] Greenblatt defines two blues scales, the major and the minor.