Play Outside like Mick Goodrick
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- Опубліковано 5 вер 2024
- This week I take a look at some scales that Mick Goodrick talk about in an old Guitar Player Magazine article from 1992. Do you have any favourite outside scales that you use? Let me know in the comments.
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The guitar is a D'angelico Brighton Deluxe
#JazzGuitarLessons
Excellent vid Mikko ..very informative ...please do more of these "outside" idea vids !!
I might just do that 😀👍
In my first lesson with Dave Fiuczynski he asked what I wanted to work on and I said I wanted to know how to get that “outside sound”. He said (and I believe he was quoting one of his own teachers) “Some people just have outgoing personalities “. I took that to mean two things: “outside “ playing is more about attitude and conviction than anything else, and it probably was for me😂. We checked out a few concepts anyway but it’s never felt comfortable for me. I like when other guys do it though
Wow cool-Dave F is awesome haven’t heard his name since he played with Me’shell back in the day.
I would play outside but it’s January. Boom ching, I’m here all week. #dadjokes
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Excellent playing and great tip! Play inside first and use notes outside for color. Mick was a great teacher and performer! Very inspired by his playing with Gary Burton.
Mick road a wave that Abercrombie and Frisell where more well known for..But he was the pioneer. A thinking man's player
Really nice video with fun ideas that can be heard demonstrated nicely. Mick has one of the most comprehensive spectra of harmony and tonality that includes harmony built upon structures like clusters, and intervallic combinations that don't occur in any of the scales traditionally taught. So he was fluent to a degree where there was no real "inside" or "outside" but rather an almost infinite continuum of tonality that could be the most dissonant combinations of sounds to ethereal chord voicings on a C major chord. But it was always beautiful in and because of the context he created.
In his Almanacs, he lays out a system where any diatonic or non diatonic note combination can be voice led melodically. I asked him how to use these sounds. He said "That's your job, I just put it out there." but another day I caught him with an instrument in his hands and I asked him to show me how he'd use non diatonic clusters as melody on a standard. He played something so "out" in that I had never ever heard chords like that, yet so "in" because the note choices were absolutely beautiful and elusively expressive. When I asked "What did you just do?" he said "Didn't you read the Almanac?" He gave me a chapter reference and that's all he'd say. It was months I spent on two pages.
Great ideas and great lines on Green Dolphin.
I liked when you played randomly. ❤️
Greats lessons. Thank you Mikko. 👍
I think I've found my new guitar guru. I love everything about your playing, and your approach. Magic.
Thank you, sir 😎👍
Thank you so much for this great lesson Mikko! It definitely opened my ears! Cheers!
This happens to be the first guitar mag I ever bought! Still have it. Once again, an excellent video! Thanks from Hämeenlinna :)
Wow! Nice. What are the odds!? 😃
@@Mikkokosmos Bought it from a bookstore in Taiwan, was brought up there. Special moments..
I fall back on pentatonics and hexatonics when playing outside. The place where I am doing this is on the V, and I approach it as a reharm. I then flat or sharp the 9th or 5th of the V chord and derive my pentatonic or hexatonic scale from the reharm’d V.
Nice, defiantly can hear that Goodrick sound in the examples!
thanks for teaching..
Thanks for going over this... I lost over 3 decades of Guitar Player magazines. This column was a favourite of mine. I miss having all those lessons SO much. It would be cool to see a compilation of some of these monthly columns into book form. For example... Larry Coryell's Contemporary Guitar column ran for many years and would make a good book in itself.
Thanks again for this awesome information, Mikko! This will keep me busy for awhile. On Green Dolphin Street makes a good vehicle for these ideas and sounds. Sounds really good imho. Keep well & stay safe.
oh yes I forgot about Larry Coryell's column. I used to read that all the time. I also have a number of guitar player magazines that I've lost. They might be at my parents place if they haven't thrown them out. Back in those days that magazine was so good. No I only read that guitar techniques magazine if anything.
@@Mikkokosmos
I don't often buy guitar magazines anymore. Once in awhile I'll pick up a copy of Downbeat or something similar IF there's something worth the price of admission. :0)
Nice lesson, thanks. Kind of comes back to a common idea with Mick Goodrich with the modal compression idea creating the chords from the scale without the root and dividing up the remaining notes, similar to the triad pairs/hexatonic ideas similarly leaving out the root and using the remaining six notes.
Yes Goodrick doesn't seem to like the root 😃
Thanks! Some of those examples didn't even sound that far outside. They fit well. Credits for that.
8:25 nuff said
Benson used maj7 over Dom sound frequently in his playing 👍🏻🎸. Thanks for sharing the good stuff. 🖖🏻
Sounds really abstract in a pleasant way. I know you were disparaging about the Diminished stuff but it sounded great. I think you are absolutely right-learn to play really well ‘inside’: ‘outside’ is everything else. Most students neglect learning to play really good I major ideas. Wes, Django and Peter Bernstein to name three play the most amazing elegant melodic I major lines. People will learn to do amazing shit over II-V and then play One note over The I chord as though they have made it to the finish line. Would love to see your thoughts on this.
Yes you make a good point. We tend to overemphasize what to play on dominants and forget to look at major chords
Nice one, Mikko!
nice tone , nice improv 👌
Thanks :D
Nice one. I really like outside playing in very small portions. Really gives extra flavor in solo when its done subtle. I cant do it, but i might take a try.
I agree that less is more here 🙂👍
Great class ... love too ser more I have some option over CMaj7 / CMaj7#11 Chord
D melodic minor = C ionion sound whit a #1
D Ionion = C Lydio sound #1
B Dorian = C Lydio sound #1#5
E melodic minor = C Lydio sound #1#9
Nice stuff ty
Sat Nam Mikko! the way I look at it is: instead of cdimished: (because I am using most of your examples last 5 years..mostly in practice situations..sometimes in gigs) is to see the G half hole scale on G7(with a regular root but descending proving us the tones that seen from a c would be called C dimished...so I like ti to uise this differing scale that is sort of mutating because more outside tools like b8 instead of Root) of course the main idea stays the same...The Eb harmonic minor over G7 was new for me...and gives me the vibe of trying out Bharmonic minor LOL...Still the way how you present it all somehow gives me the idea that I am not alone in this weirdness and that it might cut some edge in future....(I combine this stuff with 5 or 7 on a beat and with tritones crhomaticly comping...(on piano...) the strange thing is that since I am studying piano I feel that my guitar overview is more improving then just playing guitar...)
So strange to even think of playing the major 7th degree over a dominant chord lol, but It definitely can sound good apparently (when used responsibly)...I’m glad your channel is growing, I’ve been watching your stuff for a couple years now! Cheers!🍻
The major seventh is even used in melodies sometimes. Check out "Angelo" by Shai Maestro and the standard "the Peacocks" 🙂
Barry Harris like that note, Bmaj7 on G7 for instance. Which raises an interesting question! Is it really outside if Barry ‘everything after bop was a mistake’ Harris advocates it?
@@JazzGuitarScrapbook interesting. I remember transcribing a Kreisberg solo over Stella where he clearly plays an Emaj7 arp over that C7#5 chord
But I want to add to this that the Way you play it, is very musical and it sounds immeadetely realy cool and interesting...this is something that is the hardest part of it...and also the tricky part...when using it and it makes sound worse then better quit it and first learn inside stuff of course...'
Give Pat back his sweater!
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A library?!? How quaint! 👍
Yup I live in Sweden. High taxes = nice libraries 🇸🇪🥸👍
@@Mikkokosmos a sad loss in the U.K. - I think I last used one 20 years ago!
@@mwicks1968 😳
@@Mikkokosmos I love Sverige - visited about 5 times 🏴❤️🇸🇪 👍🙏
Video title v misleading. Sorry, but you are most certainly indoors here.
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Maybe I should title it "ootside scales" so canadians understand 🙄🇨🇦
@@Mikkokosmos OHHHHHHH, oootside. Like, playin' ootside the chord, eh? Pick me up a double double bud!
@@andymacatack I miss Tim Hortons 😭 no wait... I don't 😶
You stole my joke, time traveller
Thanks for this. I know scales, and can play them on demand..my issue is more making music when 'running scales'. What would you suggest in that case?
mix them with triads and arpeggios and having a balance of them when you improv, also timbre and register helps a lot
Learn a riff or two from the band Chon and mind how it relates to the song key. I’m in the same boat as you, got a bunch of scales under my fingers! Studying Chon’s phrasing and note choices is really opening up the way I look at guitar.
You ask a very important question but it's too broad. Hard for me to answer here. "How do you make music" is an almost philosophical question. and there is so much involved: timing, tone, sound, etc etc But I guess what you is asking for is "phrasing"? How do you phrase? Listen to your favorite players and try to figure out how they do it is a start 😀
@@Mikkokosmos :) thanks for your feedback.... appreciate it
Really interesting useful video! The only thing, which I wonder: the accompaniment sounds quitte inexpressive, like a sort of background bar situation, with the result that the interesting "out" lines seem almost boring too. A sort of lack of emotion perhaps. Ofcourse you deal here with theory, but wouldn't it be interesting to connect more the emotional side of the story? Perhaps it's not your style or goal or not a habit in jazz guitar, focussing on theory. Just a question.
when you are playing the C Dim scale you are playing Half step whole not whole then Half when you start out ?
Starting with whole step 🙂👍
@@Mikkokosmos TY
How can you play outside scales when using only the major chords an minor chords in the key? I think you're playing outside scales because the chords aren't major or minor chords in the key. If you play outside scales when using chords in the key its going to sound like you're playing wrong notes, so I don't know how to make those wrong notes sound like they are in key unless I change the notes in the chord?
outside notes create tension, you resolve the tension when/as you see fit with more consonant notes. the entire point is that the notes aren't diatonic to the key, that's why they sound outside. not everything you play has to correspond 1:1 with the chord symbol on the sheet, just resolve things smartly.
To be honoust Mikko I would have wished to hear it also without the teharm bit just the III meldodic minors oon the Do. Inants Because I yhink that this is amso possii le option and may e more what is meNt with those kind if altered sounds becaise tone maj7 wNts to resolute up and theb7 sNts to go down in a way tjat during G7 a bminor Triad wants to go up as it wjere Nkyjet option would be B Yriad isuperimpossed over G7 ut I do Lso mike yohr inyerpretation Md of cohrse very solid decsio Nd Lso working yerrific...
Half step up..playing. and on the b5