Outside playing: moving in 3rd's
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- Опубликовано: 12 сен 2024
- #guitarlesson #johnfklaver #outsideplaying
In this lesson we're looking at playing outside and focusing on the concept of moving patterns/motives around in major 3rd intervals.
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2 years old and the best lesson I’ve seen on YT. THANKS!
Thank you! Indeed two years, I forgot all about it ;-)
Don’t be too hard on yourself - if you’re only 2 years old, you haven’t had much time to look around.
Wish I started that young. Keep it up!
Keep up the good work. You'll be shredding by age 4!
Just what i was looking for
Thankyou maestro
Subscribed !!!!!
one of the best outside lesson ever
Thanks for sharing your lesson
God bless you
Outstanding 💥👏….simple, powerful and fresh ….thank you so much 💙🙏
Thank you, best explanation for playing outside I’ve ever seen. Liked and subscribed. Thank you !
Thank you Michael, appreciate it!
Great work! 🤟🤠🤟
Thanks!
Very clear explanation. I love your Jtc videos!
Thank you!
@@JohnFKlaver sounds great. Does this work over a Bb major 7 vamp? You are using that B7
@@sat1241 It could when you adapt licks to the maj7 sound.
Wonderful lesson....!!!!🎉🎉🎉🎉🎉🎉🎉🎉
Really appreciate learning so much in under 5 min. TY. Subscribed 🎸😎
Thank you! Best, John.
This really does sound good!
Wow. Great explanations that I can actually comprehend.
Great stuff thanks 😎👍🏼👍🏼
Great lesson, playing and tone🫀
Thank you!
That’s awesome. Thanks bro.
Nice concept and great (half)diminished sounding
Sooooo goooood
Awesome, thank you
Great lesson. Working on it right now
Great playing as always !
Thanks Neil!
Die benadering kende ik nog niet. Ga het meteen proberen. bedankt John!
you got my subscription. Good work and share!
Thank you!
Very very cool video. Thanks
Wonderful lesson!
AWESOME lesson. Thanks!
Killer lesson! And sweeeet tone too
Thanks, nice guitar helps ;-)
Awesome . Really cool
I really need help with this, I’ve been trying to figure it out for a while but I’m definitely going to experiment with this I understand what you’re sharing here thank you
Nice A Go Go backing track.
That Is outside . Cool stuff.
This is awesome!!
Thanks Roger!
Amazing trick , thanks
Great tone man!!
Thanks for the ideas
Awesome licks....
Great!
Thank you
You’re a good dude.
Brutal....tks !!!!!!
great concept, thankx!
Thank you Jochen!
bravo ! great sound
Thanks!
Really cool
Woow, Big THX!!!
tnxs a lot!!! 👏👏👏
Augmented Triad motion.
I got it from Eef Albers (dutch guitarhero)
@@JohnFKlaver I going to see how this works with Diminished motion, should get most if not all alterations of Dominant.
I should have mentioned from b2 3 5 7.
👉 John- F 👈👏👏👏👍
Buenísimo 👏 👏
Giant steps!
Excellent. Thanks a lot.
I watch a lot of these ‘outside’ videos. I still can’t apply it properly.
an easy way to teach this is to show how to enclose the root of the following scale with the b3 and 4th of the current scale.
Yes thanks!
good lesson. we don't say b10 we say #9 ie the hendrix chord 7#9
Wow!!
I just realized that connecting the outside licks by a 1/2 step make them work.
The last one reminds me of Skunk Funk live ideas
it's a great lesson. i love it. may i suggest? when you teach the lesson, your camera position shouldn't be from below. it's hard to follow
👍👍👍👍👍👍👍👍👍
Thank you
Importan Video m thank u
Cool :)))))
Cool! Just for a better understanding, this is for working in a hexatonal (whole step scale) concept right?
It can but I just moved a simple lick in major 3rd intervals without thinking of one scale.
👏👏👏👏
0:26 Brecker style
b10??I never heard that before. Interesting.
Yes, that was a whole debate here at the conservatory of Amsterdam, but you can say #9 if you want. Cheers
In British and American discussion, it would be a 7#9 chord. Because the 9 can be altered by being flattened or sharpened, like the 5, when we are discussing an altered dominant chord. But hey - it's just words.
John - When you are playing the full, completed lick, could you please slow it down to make it easier to see what you’re doing? Thanks
Hi Daniel,
You can slow it down in the youtube-app. That's what I can think of now, but since it's a popular video I might make another one. Thanks, John
Thank you John. One other thing that would be helpful would be if you named all of the notes in the riff.
You give the names of the first four notes but that’s all. For some reason, I’m not really getting or following the major third interval thing or something. I’m pretty close to working it out by ear. Thanks again.
Bb7#9
2:34
Tasty
b10? What happened to #9?
You mentioned a backing track but I could not see a link to it, thanks!
Sorry about that, if you search for 'backing track - hottentot John Scofield' you'll find similar tracks. Hope this helps!
Why do you spell the chord as a b10 rather than a #9?
I learned it that way at the conservatory here in Amsterdam. Most of the time the b10 resolves down and #9 implies upwards, but in this case being it's a static chord it can be either way probably. Thanks, John
W.A. Mathieu spells it that way also because of the acoustic origins; it’s simpler to conceptualize (and tune) as a scale with both a major and a minor third [5/4 and 6/5-although you can conceive the minor third in a blues as the natural seventh of the subdominant or 7/6].
The sharp nine of C# in Bb is very far away acoustically, probably the closest path is up a 3rd to D, up a 5th to A, then up another (major) 3rd to C# = 45/32
Mmm ... I gotta ask ... about that guitar. The headstock is great but I can't see the letters of theblogo !!!
It's from JHG Guitars! Builder is Hans Geerdink, he also works for Huber Guitars. Cheers, John
@@JohnFKlaver 🙃
Why does the Eb note in the Bb minor pentatonic not clash with Bb7b10. Isn't it an avoid note?
Yes, it would be the sus4 and wants to resolve if you land on it, but as a passing note it works. Best, John
bB -7 b10 ? I’m never heard of a b10.
Bb ?
I only play outside when it's sunny
I bet you mean the song Sunny!? ;-)
But seriously, excellent video. You have given me a lot to experiment with
b10 you mean #9?
See previous comments 😁👍
b10? You mean #9 or alt
Depends on the situation. In this case both are possible and alt might be even better here. That’s how I was taught at Amsterdam’s conservatory. Thanks!
@@JohnFKlaver Yea, never heard of a Dom 7 b10 chord ever talked about or used in any situation in school, in any chart I've read, or at any gig I've played for the last 30 years. Outside of Amsterdam, no one is going to know what you are talking about if you throw up a chart with that chord.
who says flat 10 Most people say aug 9 or sharp 9 anyway continue
Flat 10 makes so much more sense
Really.
Had to think what is he talking about i never heard of a flat 10 in my life then i figured it out is a B flat aug9 or also called a B flat sharp 9 I have no idea why you call this a flat 10
It's about the function of the note in a musical context, so sometimes it's sharp 9, but most of the times it's flat 10.
Flat 10 ???
Why not just call it what it actually is !
Bb 7 sharp 9 or Bb7#9
Why make things more complicated than they really are !
Otherwise a great lesson !
It can be both depending on the function, but either way same result. Thanks, John
@@JohnFKlaver
Function..........................................!!! ???
It's a definition !
You're talking about a lowered third in the next octave which is really just a flat 9th since there are no other 9's in the chord.
Who use 10's anyway !
Music consist of the following intervals :
1, 2, 3, 4, 5, 6, 7, 9, 11 and 13
There's no eights, tens, twelve's, fourteen's, fifth-teen's etc etc.
It's a confusing terminology to use tens !
@@johansvenson4297 no, its function in the musical context, so sometimes it’s sharp 9 but most of the times it’s flat 10.
By the way, the flat 9 is Cb which is not the lowered third in the next octave like you say.
Anyway, there’re more roads that lead to ……
Thanks for commenting.
What the heck is a flat 10?! I knew of sharp 9s, which if played along a major 3rd contribute to the altered sound, but if you have a 'flat 10' (which is a flat 3rd) really then you'd have a minor chord, period.
The names of the intervals matter. If you get it so blatantly wrong it might make people think you don't know what you're doing.
I already explained it somewhere in the comments. In short it has to do with how notes resolve which makes sense if you think of it in that way.
Anyhow don’t worry about my musictheory. Thanks.
Usually 10th and 12th is synonymous with 3rd and 5th respectively in tertian chord stacking. But sometimes, especially in modern jazz and European concert, you’ll see things like b12 when the chord being spelled it more reliant on the actual intervals.
That being said, “b10” is not correct here and should be referred to as a #9.
nope,the six note fr.the Bbm..or become f# but not on the emphasis.and theres one more..
Wtf!!!
that sounds weird!
b10 lol. Only a guitar player would call it that
ROTFLOL Bb7b10 🤣😂🤣😂🤣😂🤣
Yes don’t worry about it, I explain it somewhere in the commentsection. Thanks, John
Yes, it’s more accurate-blues has both thirds
@@michaeltilley8708 #9 is the most common, as chords are stacked in thirds 1,3,5,7,9,11,13. So 10 is not used.
@@tbgtbg6311 true that, but if you’re interested see my other comment.
@@tbgtbg6311 it also kind of precludes adding the b9 to that sonority, which sounds quite tasty.
awesome. thank you.